本文選題：戴維·哈維　切入點(diǎn)：時(shí)間　出處：《山東大學(xué)》2011年碩士論文　論文類型：學(xué)位論文

【摘要】：時(shí)間和空間,是人類物質(zhì)生產(chǎn)實(shí)踐的基本方式。近年來(lái),隨著“空間轉(zhuǎn)向”的興起,米歇爾·福柯、亨利·列菲弗爾、戴維·哈維、愛(ài)德華·索亞、弗雷德里克.詹姆遜等不少西方學(xué)者紛紛從空間角度切入文化研究。其中,戴維·哈維將馬克思主義理論與文化研究相結(jié)合,探討社會(huì)生產(chǎn)體制層面的轉(zhuǎn)變對(duì)文化層面的影響,“時(shí)空壓縮”的理論正是以此為背景建構(gòu)起來(lái)的。 第一章簡(jiǎn)要回顧戴維·哈維之前的時(shí)空觀。本章側(cè)重從科技哲學(xué)的角度對(duì)歷史上的時(shí)空觀進(jìn)行分期梳理。無(wú)論是理性主義的時(shí)空觀還是經(jīng)驗(yàn)主義的時(shí)空觀,都無(wú)可避免地陷入了抽象化、概念化的藩籬。資本主義社會(huì),科技水平的飛躍帶動(dòng)資本主義迅猛發(fā)展,時(shí)間和空間的客觀品質(zhì)被“革命化”,時(shí)空觀念逐漸褪去形而上學(xué)的外衣。直到馬克思主義的實(shí)踐論時(shí)空觀出現(xiàn),本源的時(shí)空意識(shí)徹底覺(jué)醒。 第二章將哈維的“時(shí)空壓縮”理論放在空間轉(zhuǎn)向的背景下進(jìn)行解讀。哈維從馬克思主義生存-實(shí)踐論的角度對(duì)空間的性質(zhì)進(jìn)行辯證性思考,進(jìn)而對(duì)現(xiàn)代主義和所謂的后現(xiàn)代主義進(jìn)行細(xì)致地摹像,以文化層面的變遷引出資本主義社會(huì)中生產(chǎn)體制層面的轉(zhuǎn)變,揭示出“時(shí)空壓縮”理論的內(nèi)在機(jī)理,并且得出結(jié)論,現(xiàn)代主義和后現(xiàn)代主義之間并沒(méi)有明顯的界線,后現(xiàn)代主義不過(guò)是社會(huì)生產(chǎn)體制層面造成的“時(shí)空壓縮”現(xiàn)象對(duì)社會(huì)文化又一輪猛烈的影響。 第三章主要是以“時(shí)空壓縮”理論為基點(diǎn)對(duì)當(dāng)代資本主義社會(huì)的文化展開(kāi)美學(xué)批評(píng)。隨著資本主義社會(huì)時(shí)間的加速和空間障礙的崩潰,人們對(duì)時(shí)空的感受和表達(dá)都出現(xiàn)新的困境與改變。電影、文學(xué)、繪畫(huà)以及建筑等藝術(shù)形式都力圖打破單一的線性敘事結(jié)構(gòu),使敘事空間呈現(xiàn)出拼貼化、碎片化的特點(diǎn),作品中的時(shí)間維度與空間維度被消解得支離破碎、混亂不堪�？傊�,后現(xiàn)代的文化藝術(shù)更多的是一種價(jià)值觀的表達(dá),一種在“時(shí)空壓縮”的生存境遇下的體驗(yàn)和表征。 結(jié)語(yǔ)部分對(duì)哈維的“時(shí)空壓縮”理論及其美學(xué)意義進(jìn)行了客觀的評(píng)價(jià),并指出了其理論上的缺陷與不足。
[Abstract]:Time and space are the basic ways of human material production. In recent years, with the rise of the "space turn," Michele Foucault, Henry Lefevere, David Harvey, Edward Sawyer, Frederick Jameson and many other Western scholars cut into cultural research from a spatial perspective. Among them, David Harvey combined Marxist theory with cultural research. The theory of space-time compression is constructed on the basis of discussing the influence of the change of social production system on the cultural level. The first chapter is a brief review of David Harvey's previous view of time and space. This chapter focuses on sorting out the historical view of time and space from the perspective of philosophy of science and technology, whether it's rationalism or empiricism. Are inevitably trapped in abstract, conceptualized barriers. In capitalist society, the rapid development of capitalism is driven by leaps and bounds in the level of science and technology. The objective quality of time and space was "revolutionized", and the concept of time and space gradually faded away from metaphysics, until the Marxist concept of practical space-time came into being, and the original space-time consciousness was completely awakened. The second chapter interprets Harvey's theory of "space-time compression" under the background of spatial turn. Harvey dialectically ponders the nature of space from the perspective of Marxist existence-practice theory. Then the modernism and the so-called post-modernism are carefully imitated, and the transformation of the production system in the capitalist society is induced by the cultural changes, and the internal mechanism of the theory of "space-time compression" is revealed, and the conclusion is drawn. There is no obvious boundary between modernism and postmodernism. Post-modernism is just a phenomenon of "space-time compression" caused by social production system. The third chapter mainly focuses on the aesthetic criticism of the culture of the contemporary capitalist society based on the theory of "space-time compression." with the acceleration of the time of capitalist society and the collapse of spatial obstacles, People's feelings and expressions of time and space are all facing new difficulties and changes. The art forms of film, literature, painting and architecture are all trying to break down the single linear narrative structure, so that the narrative space presents the characteristics of collage and fragmentation. In short, postmodern culture and art are more of an expression of values, a kind of experience and representation under the circumstances of "space-time compression". The conclusion gives an objective evaluation of Harvey's theory of space-time compression and its aesthetic significance, and points out its theoretical defects and deficiencies.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J01

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 王燕;網(wǎng)絡(luò)心理咨詢的社會(huì)文化語(yǔ)境與基本特征[D];魯東大學(xué);2013年

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本文編號(hào)：1637937