本雅明对技术复制文化的批判透视与现代性反思  

Benjamin’s Critical Perspective and Reflection on Modernity on Technological Reproduction Culture

作　　者：孙莉 SUN Li(School of Marxism,Party School of Beijing Municipal Committee of C.P.C,Beijing 100044,China)

机构地区：[1]中共北京市委党校[北京行政学院]马克思主义学院,北京100044

出　　处：《甘肃理论学刊》2024年第6期65-72,共8页Gansu Theory Research

基　　金：北京市习近平新时代中国特色社会主义思想研究中心项目“中国式现代化对西方现代化道路的超越研究”(23LLMLC035)的阶段性成果。

摘　　要：技术复制文化是一个具有张力的概念,本雅明对此进行了深刻的论述,一方面肯定了技术复制文化所发挥的独特社会功能,另一方面阐释了技术复制文化如何使传统艺术的“灵晕”消逝。本雅明深刻洞察到20世纪西方社会的文化焦虑,以“拱廊街”与“闲逛者”为具体意象,对现代资本主义社会的文化进行反思与批判。在本雅明和阿多诺关于文化问题的三次论争中,逐渐酝酿诞生了霍克海默和阿多诺关于文化工业的理论,使得法兰克福学派文化批判理论的观点愈加鲜明,与此同时,也推动了其对文化现代性的反思与重塑。Technological replication culture is a concept with tension,which was deeply discussed by Benjamin.On the one hand,it affirms the unique social function played by technological replication culture,and on the other hand,it explains how technological replication culture can make the“aura”of traditional art disappear.Benjamin had a profound insight into the cultural anxiety of Western society in the 20th century,using“arcades”and“wanderers”as concrete images to reflect on and criticize the culture of modern capitalist society.In the three debates between Benjamin and Adorno on cultural issues,the theory of cultural industry by Horkheimer and Adorno gradually emerged,making the Frankfurt School’s cultural criticism theory more distinct.At the same time,it also promoted its reflection and reshaping of cultural modernity.

关 键 词：技术复制文化 文化现代性 “阿本之争” 

分 类 号：B505[哲学宗教—外国哲学]