骷髅或天使:一种“Auffahrt”动力图——瓦尔堡与本雅明的巴洛克  

Skull or Angel:A“Dynamogram”of“Auffahrt”:On Aby Warburg and Walter Benjamin's Baroque

作　　者：乔泓凯 Qiao Hongkai(the School of Philosophy,Fudan University,Shanghai 200433,China)

机构地区：[1]复旦大学艺术哲学系,上海市200433

出　　处：《文艺理论研究》2025年第1期213-223,共11页Theoretical Studies in Literature and Art

摘　　要：本雅明曾于20世纪20年代的私人书信中透露了进入瓦尔堡图书馆的渴望,相较于两人各自“最后计划”的知识论层面的默契,这一时期的本雅明与瓦尔堡的联系更具本质性。瓦尔堡将历史能量的倒转、极化的动力形态称作“动力图”,并强调其垂直方向上的运作。本雅明在《德意志悲悼剧的起源》中类似地提供了一种空间化、舞台化的历史动力学。寄寓与动力图二者提供了相似的历史结构,寄寓中时间的空间化对应于巴洛克历史的自然化。寄寓的二律背反意味着古代情念程式的“能量倒转”。瓦尔堡的工作带有隐含的历史哲学维度。忧郁同时构成了巴洛克历史与《记忆女神图集》的形而上学支配性情绪。尸体作为连接内脏与星辰的中介,揭示出具有宇宙论意义的灵魂运动形式。悲悼剧的舞台必然地被鬼魂占据,巴洛克历史乃是一种瓦尔堡意义上的幽灵史。In his personal letters from the 1920s,Walter Benjamin expressed his desire to join Aby Warburg's circle.Compared with the epistemological resonance of their“Final Plans”,the connection between Benjamin and Warburg during this period was more essential.Warburg described the kinetic form of the inversion and repolarization of history energy as the“Dynamogram,”emphasizing its vertical operation.Similarly,Benjamin proposed a spatialized historical dynamic in The Origin of German Tragic Drama.Both the allegory and“Dynamogram”provided a similar historical Structure,the spatialization of time in allegory corresponded to the naturalization of Baroque history structure.The allegorical antinomy signified the kinetic inversion of ancient“Pathosformeln.”Warburg's work carries an implicit dimension of the philosophy of history.Melancholy emerged as the dominant metaphysical emotion in both Baroque history and The Mnemosyne Atlas.Here,the corpse served as a medium connecting the viscera and the astra,revealing a cosmological soul dynamic.The stage of the tragic drama(Trauerspiel)was inevitably occupied by ghosts,and Baroque history was a“ghost story(Gespenstergeschichte)”in Warburg's sense.

关 键 词：瓦尔堡 本雅明 巴洛克 悲悼剧 《记忆女神图集》 

分 类 号：I106[文学—世界文学]