哈维的“时空压缩”理论及其当代文化批判

发布时间：2018-03-20 06:41

本文选题：戴维·哈维　切入点：时间　出处：《山东大学》2011年硕士论文　论文类型：学位论文

【摘要】：时间和空间,是人类物质生产实践的基本方式。近年来,随着“空间转向”的兴起,米歇尔·福柯、亨利·列菲弗尔、戴维·哈维、爱德华·索亚、弗雷德里克.詹姆逊等不少西方学者纷纷从空间角度切入文化研究。其中,戴维·哈维将马克思主义理论与文化研究相结合,探讨社会生产体制层面的转变对文化层面的影响,“时空压缩”的理论正是以此为背景建构起来的。第一章简要回顾戴维·哈维之前的时空观。本章侧重从科技哲学的角度对历史上的时空观进行分期梳理。无论是理性主义的时空观还是经验主义的时空观,都无可避免地陷入了抽象化、概念化的藩篱。资本主义社会,科技水平的飞跃带动资本主义迅猛发展,时间和空间的客观品质被“革命化”,时空观念逐渐褪去形而上学的外衣。直到马克思主义的实践论时空观出现,本源的时空意识彻底觉醒。第二章将哈维的“时空压缩”理论放在空间转向的背景下进行解读。哈维从马克思主义生存-实践论的角度对空间的性质进行辩证性思考,进而对现代主义和所谓的后现代主义进行细致地摹像,以文化层面的变迁引出资本主义社会中生产体制层面的转变,揭示出“时空压缩”理论的内在机理,并且得出结论,现代主义和后现代主义之间并没有明显的界线,后现代主义不过是社会生产体制层面造成的“时空压缩”现象对社会文化又一轮猛烈的影响。第三章主要是以“时空压缩”理论为基点对当代资本主义社会的文化展开美学批评。随着资本主义社会时间的加速和空间障碍的崩溃,人们对时空的感受和表达都出现新的困境与改变。电影、文学、绘画以及建筑等艺术形式都力图打破单一的线性叙事结构,使叙事空间呈现出拼贴化、碎片化的特点,作品中的时间维度与空间维度被消解得支离破碎、混乱不堪。总之,后现代的文化艺术更多的是一种价值观的表达,一种在“时空压缩”的生存境遇下的体验和表征。结语部分对哈维的“时空压缩”理论及其美学意义进行了客观的评价,并指出了其理论上的缺陷与不足。
[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.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J01

【引证文献】