發(fā)布時(shí)間：2018-06-19 11:53

  本文選題：圖像—娛樂化 + 審美—娛樂化��； 參考：《外國文學(xué)》2010年06期

【摘要】："審美化"已成為當(dāng)代西方社會學(xué)家把握現(xiàn)代化進(jìn)程的一個(gè)重要理論,在中國其相關(guān)研究主要圍繞著"日常生活審美化"而展開,成果頗豐。但在中西方已有的探討中,美國批評家波茲曼的"圖像—娛樂化"思想尚未得到應(yīng)有的重視。本文認(rèn)為波茲曼的"圖像—娛樂化"就是鮑德里亞等人的"圖像—審美化",但它有其自成體系的理論:第一,圖像即感性,因而與真正的審美化或感官的娛樂化息息相通;第二,圖像即事物本身,它產(chǎn)生出來就不是為了"指示",而是為了"取代"事物;第三,圖像即純粹之"表象",它僅在"表象"層面作業(yè),所關(guān)注的不是"再現(xiàn)"什么,而是如何使"再現(xiàn)"本身更符合視覺或形式美和感性、感官的需求。一句話,圖像的后果就是真實(shí)在其中被悄然抹去的娛樂化和審美化,或合而言之即"審美—娛樂化"。
[Abstract]:"Aesthetics" has become an important theory for contemporary western sociologists to grasp the process of modernization. However, in the discussion between China and the West, American critic Pozman's idea of "image-entertainment" has not received due attention. This article thinks that Bozman's "image-entertainment" is Baudrillard's "image-aesthetic", but it has its own theory: first, image is sensibility, so it is closely connected with real aesthetic or sensual entertainment; Second, the image is the thing itself, and it is produced not for "indication", but for the purpose of "replacing" things; third, the image is pure "representation", which works only at the level of "representation" and is not concerned with what "reproduces". But how to make "reproduction" itself more in line with visual or formal beauty and sensual, sensory needs. In a word, the result of image is the entertainment and aestheticization, or "aesthetic-entertainment", in which truth is quietly erased.
【作者單位】： 上海外國語大學(xué)文學(xué)研究院;中國社會科學(xué)院文學(xué)所理論室;
【分類號】：I01
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本文編號：2039796