本文選題：本雅明　切入點(diǎn)：猶太教神秘主義　出處：《蘇州大學(xué)》2002年碩士論文　論文類型：學(xué)位論文

【摘要】： 本文對(duì)二十世紀(jì)最偉大的文學(xué)批評(píng)家之一：本雅明贖救論的美學(xué)思想作了論述。文章結(jié)合本雅明的人生經(jīng)歷及其性格特征，，著重探討了他美學(xué)思想中的兩種傾向：猶太教神秘主義和馬克思唯物辯證法。本雅明面對(duì)現(xiàn)代社會(huì)及現(xiàn)代藝術(shù)的大轉(zhuǎn)變，力圖以一種積極的方式，將現(xiàn)實(shí)的不幸轉(zhuǎn)變成獲救的契機(jī)。他認(rèn)為現(xiàn)代藝術(shù)一方面在被接受過程中存在著喚醒大眾、從而將觀眾從消極的接受者成為能動(dòng)的革命同謀者的功能；另一方面，現(xiàn)代藝術(shù)將現(xiàn)實(shí)的荒謬、人的異化推向極端化、顯現(xiàn)化，成為將世俗歷史推向終極的動(dòng)力，以廢墟召喚著神學(xué)意義上的被拯救的瞬間。本雅明所探討的藝術(shù)與現(xiàn)實(shí)的關(guān)系、藝術(shù)內(nèi)涵與神學(xué)在某種意義上的契合，在今天仍有值得探索的價(jià)值。
[Abstract]:This paper discusses one of the greatest literary critics in 20th century: the aesthetic thought of Benjamin's redemption theory. Focusing on two tendencies in his aesthetic thought: mysticism of Judaism and materialist dialectics of Marx, Benjamin tries hard in a positive way to face the great changes in modern society and modern art. He believes that modern art, on the one hand, has the function of arousing the masses in the process of being accepted, thereby turning the audience from a passive recipient to a dynamic revolutionary accomplice; on the other hand, Modern art pushes the absurdity of reality, the alienation of human beings to the extreme and the manifestation, and becomes the motive force to push the secular history to the ultimate, and calls upon the moment of salvation in the sense of theology with ruins. The relationship between art and reality discussed by Benjamin, The agreement between artistic connotation and theology in a certain sense is still worth exploring today.
【學(xué)位授予單位】：蘇州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2002
【分類號(hào)】：I01

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 劉曲;本雅明現(xiàn)代性批判的矛盾性[D];遼寧大學(xué);2011年

本文編號(hào)：1567138