论本雅明的视觉现代性  

On Benjamin’s Thought of Visual Modernity

作　　者：蔡熙 陈芳[1] CAI Xi;CHEN Fang(College of Literature and Journalism,Xiangtan University,Xiangtan,Hunan 411105)

机构地区：[1]湘潭大学文学与新闻学院,湖南湘潭411105

出　　处：《中国文学研究》2024年第4期30-37,共8页Research of Chinese Literature

基　　金：国家社会科学基金一般项目“狄更斯小说的视觉叙事研究”(19BWW043)。

摘　　要：瓦尔特·本雅明是一位明确地追寻视觉现代性理论的学者,闲逛者、光韵和摄影是其视觉现代性理论的重要关注对象。城市现代性与观察者的重塑密不可分,闲逛者作为流动的观察者在城市空间中自由走动、感受与体验,是视觉现代性的实践者;光韵具有不可接近的神圣性、此时此地的本真性,但它首先是可视的,具有视觉性,凝神静观的视觉性是光韵最重要的特征之一;摄影的发明是19世纪最卓越的视觉技术创新,艺术的特征在摄影时代发生了变化,机械复制使得复本取代了孤本,导致图像从膜拜价值向展示价值转移。本雅明对19世纪观察者、光韵和摄影的独到考察,极大地丰富了视觉现代性的理论内涵,从而启示了后来者对视觉现代性的研究。Walter Benjamin is a scholar who clearly pursues the theory of visual modernity,and Flaneur,Aura and photography are the important objects of his visual modernity theory.Urban modernity is inseparable from the reconstruction of the observer.As a mobile observer,the Flaneur walks freely in the urban space,feels and experiences,and is the practitioner of visual modernity.Au-ra is provided with the unapproachable sacredness,the authenticity of the here and now,but it is first visible and visual,and the visual character of contemplation is one of the most important characteristics of Aura.The invention of photography is the most out-standing visual technology innovation in the 19th century.The characteristics of art have changed in the age of photography.Mechani-cal reproduction makes the copy replace the single copy,resulting in the transfer of image from worship value to display value.Ben-jamin’s unique investigation of observer,Aura and photography in the 19th century greatly enriched the concept of visual modernity,and thus inspired the study of visual modernity by later generations.

关 键 词：本雅明 视觉现代性 闲逛者 光韵 摄影 

分 类 号：I01[文学—文学理论]