瞬間—論一種現(xiàn)代性體驗
發(fā)布時間：2018-11-09 12:45
【摘要】： 本文嘗試從“瞬間”角度來討論“速度時代”人的審美體驗問題。試圖清理出這樣一條線索:由于技術(shù)的發(fā)展,現(xiàn)代社會不斷加速,人的時空感受發(fā)生了很大的轉(zhuǎn)變,距離越來越失去意義,時間感受也越來越呈現(xiàn)為一種“現(xiàn)在”時間的“瞬間”感。文學(xué)與藝術(shù)中以“瞬間詩學(xué)”為主要審美特質(zhì)的“瞬時”的現(xiàn)代性體驗也發(fā)生了從“震驚”到“眩暈”的嬗變。 本文分為導(dǎo)言、上篇、下篇、結(jié)語4部分。 導(dǎo)言部分對主要概念進行界定,說明本論文寫作的意義和價值。 上篇主要結(jié)合哲學(xué)、社會學(xué)和文學(xué)文本討論“速度時代”的特征。分作三節(jié):第一節(jié)論述了速度時代的時空轉(zhuǎn)換,從工業(yè)革命到電子媒介,距離越來越趨近于“零”,時間越來越趨向于“瞬間”。 第二節(jié)主要談一種“輕快的現(xiàn)代性”,沿英國社會學(xué)家齊格蒙特·鮑曼的思路展開�，F(xiàn)代社會中“輕巧”取代了“笨重”,“快”壓倒了“慢”,“瞬間”代替了“永恒”,我們生活在一個注重瞬時性的時代,一切持久和長期性的東西都失去了價值,一種既無過去也無未來的“瞬時”性感受占據(jù)了我們對當(dāng)前世界的體驗。 第三節(jié)結(jié)合米蘭·昆德拉的小說《慢》,探討文學(xué)藝術(shù)中的“快”與“慢”的時間感受,著重從“速度與遺忘”、“人與人交流經(jīng)驗的萎縮”等方面展開,肯定了“慢”的價值,并認(rèn)為小說《慢》所描寫的其實是一個“現(xiàn)代性”問題。 下篇主要聚焦于“瞬時詩學(xué)”的問題,亦分三節(jié): 第一節(jié)從波德萊爾的作品,以及本雅明對波德萊爾作品的相關(guān)論述談起,重點探討的是現(xiàn)代主義作品中“震驚”的審美瞬時性體驗。 第二節(jié)以愛倫·坡、波德萊爾、伍爾夫等人作品中的“鐘聲”為例,具體討論“震驚”的美學(xué)內(nèi)涵,指出“震驚”作為典型的現(xiàn)代性體驗實質(zhì)上是一種“瞬時詩學(xué)”。 第三節(jié)借助法國理論家保羅·維利里奧對“速度”的論述,重點討論了他所提出的“消失的美學(xué)”。信息與數(shù)字時代,電影、電視、仿真技術(shù),分身性、瞬時性和立時性的時間間隔與空間延拓的清除,日益使“眩暈”成為審美體驗中的一種重要感受。 結(jié)語總結(jié)全文,指出“瞬時感”其實是一種“時間感”,體驗瞬間是體驗世界的一種特殊方式。體驗時間就是體驗生命自身,就是體驗我們所處的時代。人類能否適應(yīng)速度問題,實質(zhì)上是人性能否適應(yīng)技術(shù)問題。文學(xué)和藝術(shù)應(yīng)該更多地關(guān)注時代的新體驗。
[Abstract]:This paper tries to discuss the aesthetic experience of "speed age" from the angle of "moment". Trying to sort out a clue: because of the development of technology, modern society has been accelerating, people's space-time feelings have undergone a great change, distance is becoming more and more meaningless. The feeling of time is more and more present as a sense of moment of present time. In literature and art, the experience of "instantaneous" modernity, with "instantaneous poetics" as the main aesthetic characteristic, has also changed from "shock" to "dizziness". This article is divided into four parts: introduction, the first part, the second part, and the conclusion. The introduction defines the main concepts and explains the significance and value of this thesis. The first part mainly combines philosophy, sociology and literary texts to discuss the characteristics of the Speed Age. It is divided into three sections: the first section discusses the time and space conversion of the speed era, from the industrial revolution to the electronic medium, the distance is closer to "zero", and the time is more and more "instantaneous". The second section mainly talks about a kind of brisk modernity, which is carried out along the thought of British sociologist Zygmunt Bowman. In modern society, "lightness" takes the place of "bulky", "quick" suppresses "slow", "moment" replaces "eternity". A "instantaneous" feeling that has neither the past nor the future dominates our experience of the present world. The third section, based on Milan Kundera's novel slow, discusses the time feeling of "speed" and "slowness" in literature and art, focusing on "speed and forgetting", "the atrophy of human exchange experience" and so on. The author affirms the value of slowness and thinks that what the novel describes is actually a problem of modernity. The next part mainly focuses on the issue of "instantaneous Poetics", which is also divided into three sections: the first section begins with Baudelaire's works and Benjamin's exposition of Baudelaire's works. The emphasis is on the aesthetic transient experience of "shock" in modernist works. The second section discusses the aesthetic connotation of shock, and points out that shock, as a typical experience of modernity, is in essence a kind of "instantaneous poetics", taking Allan Poe, Baudelaire, Woolf and others as examples to discuss the aesthetic connotation of "shock". In the third section, with the help of the French theorist Paul Villelio's discussion of speed, the author focuses on the esthetics of disappearance. In the information and digital age, film, television, simulation technology, separateness, instantaneous and temporal time interval and spatial continuation, "vertigo" has become an important feeling in the aesthetic experience. The conclusion summarizes the full text and points out that "instantaneous feeling" is actually a kind of "sense of time", and experience moment is a special way to experience the world. Experience time is to experience life itself, is to experience the era we live in. The question of whether human beings can adapt to speed is essentially a question of whether human nature can adapt to technology. Literature and art should pay more attention to the new experience of the times.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：I01
本文編號：2320452
[Abstract]:This paper tries to discuss the aesthetic experience of "speed age" from the angle of "moment". Trying to sort out a clue: because of the development of technology, modern society has been accelerating, people's space-time feelings have undergone a great change, distance is becoming more and more meaningless. The feeling of time is more and more present as a sense of moment of present time. In literature and art, the experience of "instantaneous" modernity, with "instantaneous poetics" as the main aesthetic characteristic, has also changed from "shock" to "dizziness". This article is divided into four parts: introduction, the first part, the second part, and the conclusion. The introduction defines the main concepts and explains the significance and value of this thesis. The first part mainly combines philosophy, sociology and literary texts to discuss the characteristics of the Speed Age. It is divided into three sections: the first section discusses the time and space conversion of the speed era, from the industrial revolution to the electronic medium, the distance is closer to "zero", and the time is more and more "instantaneous". The second section mainly talks about a kind of brisk modernity, which is carried out along the thought of British sociologist Zygmunt Bowman. In modern society, "lightness" takes the place of "bulky", "quick" suppresses "slow", "moment" replaces "eternity". A "instantaneous" feeling that has neither the past nor the future dominates our experience of the present world. The third section, based on Milan Kundera's novel slow, discusses the time feeling of "speed" and "slowness" in literature and art, focusing on "speed and forgetting", "the atrophy of human exchange experience" and so on. The author affirms the value of slowness and thinks that what the novel describes is actually a problem of modernity. The next part mainly focuses on the issue of "instantaneous Poetics", which is also divided into three sections: the first section begins with Baudelaire's works and Benjamin's exposition of Baudelaire's works. The emphasis is on the aesthetic transient experience of "shock" in modernist works. The second section discusses the aesthetic connotation of shock, and points out that shock, as a typical experience of modernity, is in essence a kind of "instantaneous poetics", taking Allan Poe, Baudelaire, Woolf and others as examples to discuss the aesthetic connotation of "shock". In the third section, with the help of the French theorist Paul Villelio's discussion of speed, the author focuses on the esthetics of disappearance. In the information and digital age, film, television, simulation technology, separateness, instantaneous and temporal time interval and spatial continuation, "vertigo" has become an important feeling in the aesthetic experience. The conclusion summarizes the full text and points out that "instantaneous feeling" is actually a kind of "sense of time", and experience moment is a special way to experience the world. Experience time is to experience life itself, is to experience the era we live in. The question of whether human beings can adapt to speed is essentially a question of whether human nature can adapt to technology. Literature and art should pay more attention to the new experience of the times.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：I01
【參考文獻(xiàn)】
相關(guān)期刊論文 前3條
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2 臧棣;記憶的詩歌敘事學(xué)——細(xì)讀西渡的《一個鐘表匠的記憶》[J];詩探索;2002年Z1期
3 張清民;四十年代:中國現(xiàn)代文藝?yán)碚撔螒B(tài)的確立[J];文藝?yán)碚撆c批評;2001年04期
，本文編號：2320452
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