本文選題：后人類 + 機(jī)器�。� 參考：《當(dāng)代電影》2017年11期

【摘要】：后人類理論與影像,看似晚近以來皆陷入了困頓的局面。通過返歸敘事、時(shí)間及主體性這些基本問題,我們得以重新敞開思索的可能。大衛(wèi)·波德維爾在批判經(jīng)典敘事理論的同時(shí)仍然保留了主體性的幻象,德勒茲所啟示出的"欲望-機(jī)器"及"神經(jīng)-影像"的概念雖然更為徹底地推進(jìn)了電影的后人類變革,卻最終陷入主體性的難題之中難以自拔。由此,加里·沃爾夫?qū)Φ吕镞_(dá)的幽靈學(xué)說的闡發(fā),及對(duì)三種時(shí)間性的暗示,皆足以提供有效的解決途徑。
[Abstract]:Post-human theory and image seem to have been trapped in the situation. Through the return narrative, time and subjectivity, we can re-open the possibility of thinking. David Bodwell still retains the illusion of subjectivity while criticizing the classical narrative theory. The concepts of "lust-machine" and "neuro-image" revealed by Deleuze have promoted the post-human transformation of the film more thoroughly. However, it is difficult to extricate itself from the problem of subjectivity. Therefore, Gary Wolff's explanation of Derrida's ghost theory and the implication of three kinds of time are all sufficient to provide an effective solution.
【作者單位】： 華東師范大學(xué)哲學(xué)系;
【基金】：上海市教育發(fā)展基金會(huì)曙光計(jì)劃項(xiàng)目“身-言-像:當(dāng)代法國藝術(shù)哲學(xué)的三個(gè)主題”(項(xiàng)目編號(hào):12903-412221-17007)的階段性成果
【分類號(hào)】：J905
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本文編號(hào)：2037914