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作 者:卢春红[1] Lu Chunhong
出 处:《社会科学战线》2025年第1期179-191,282,共14页Social Science Front
摘 要:从传统艺术的“原真性”到现代艺术的“可技术复制性”,本雅明不仅通过对“原作”的对照分析阐明了现代艺术中光晕与其存在形式的间接性关联,而且以“永久性”与“暂时性”的对峙呈现出由传统艺术走向现代艺术的思想背景转换,即由以理性为主导的传统思想转向以感性为出发点的现代思想。更重要的是,内含神圣性的光晕在现代艺术中的销声匿迹只是表征,由此真正揭示的则是现代艺术的媒介身份——以形式转换的方式呈现异在的世界,也通过作为媒介的艺术而彰显现代性思想的悖论:现时代的人们是通过艺术来获得对于光晕的呈现,而艺术的媒介身份则决定了呈现光晕的不可能性。不过,悖论昭示的并非全然消极的后果,而是以感性为基点的现代性思想的真正方向:不再执着于对思想之永恒性的探寻,而是带着这一诉求关注感性存在之当下性的展示。正是在这一意义上,“可复制性”一跃成为作品呈现自身的内在诉求,并由此彰显媒介艺术的诠释学维度:不是对注定会结束的精神的历史性展开,而是对当下存在之现实性的“跳跃”式生成。From the"authenticity"of traditional art to the"replicability"of modern art,Benjamin not only clarifies the indirect relationship between the aura and its mode of existence in modern art through a comparative analysis of the"original work,"but also highlights the shift in ideological context from traditional to modern art.This shift is represented by the opposition between"permanence"and"temporality,"marking a transition from the rationality-driven thought of tradition to the sensibility-oriented thought of modernity.More crucially,the disappearance of the aura,once imbued with sacredness,in modern art is not merely a sign of loss but serves as an indication of modern art's media identity.Modern art,by transforming forms,mediates the presentation of a disparate world and reveals the paradox of modernity:people in contemporary society access the presentation of the aura through art,yet the medium's identity simultaneously ensures the impossibility of presenting the aura.However,this paradox does not lead to purely negative outcomes;rather,it signals the true direction of modernity's sensibility-based thought:no longer fixated on the eternal nature of thought,but focused on the present moment's sensuous existence.In this regard,"replicability"becomes an intrinsic demand for the work to express itself,thereby emphasizing the hermeneutic dimension of media art.This shift reflects not a historical unfolding of the spirit's inevitable end,but a"leaping"generation of the current reality of existence.
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