灵媒附身:从雨果到布勒东的通灵论与艺术

发布时间：2018-03-04 03:19

本文选题：灵媒　切入点：布勒东　出处：《世界美术》2014年04期 　论文类型：期刊论文

【摘要】：正在巴黎雨果故居举办的展览"灵媒附身:从雨果到布勒东的通灵论与艺术"上首先看到的,就是奥诺雷·杜米埃的系列版画《鬼故事》(1853),它讽刺性地描绘了当时流行的桌子转动的超自然现象。登上雨果故居的楼梯,就看到了杜米埃这些犀利的讽刺画,画中表现了各种各样试图使家具旋转、舞蹈甚至说话的活动,让人想起卡尔·马克思关于桌子的隐喻:"桌子一旦作为商品出现,就变成了一个可感觉而又超感觉的物了。它不仅用它的脚站在地上,而且在对其他商品的关系上用头倒立着,从它的木脑袋里生出比它自
[Abstract]:First seen in the exhibition "psychic possession: psychic theory and art from Hugo to Bridon", which is being held at Hugo's residence in Paris. It's Onol Dumier's series of prints, "the Ghost Story." it's a satirical depiction of the supernatural phenomenon of the popular table spinning. When you go up the stairs of Hugo's former home, you see these sharp caricatures of Dumiet. The paintings show all sorts of activities that try to spin furniture, dance and even talk, reminiscent of Karl Marx's metaphor for the table: "once a table comes out as a commodity, It has become a sensable and super-sensed thing. It not only stands on the ground with its feet, but also stands on its head in relation to other goods, and comes out of its wooden head more than it does
【作者单位】：哥伦比亚大学;
【分类号】：J205

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