“图像—娱乐化”或“审美—娱乐化”——波兹曼社会“审美化”思想评论

发布时间：2018-06-19 11:53

  本文选题：图像—娱乐化 + 审美—娱乐化　； 参考：《外国文学》2010年06期

【摘要】："审美化"已成为当代西方社会学家把握现代化进程的一个重要理论,在中国其相关研究主要围绕着"日常生活审美化"而展开,成果颇丰。但在中西方已有的探讨中,美国批评家波兹曼的"图像—娱乐化"思想尚未得到应有的重视。本文认为波兹曼的"图像—娱乐化"就是鲍德里亚等人的"图像—审美化",但它有其自成体系的理论:第一,图像即感性,因而与真正的审美化或感官的娱乐化息息相通;第二,图像即事物本身,它产生出来就不是为了"指示",而是为了"取代"事物;第三,图像即纯粹之"表象",它仅在"表象"层面作业,所关注的不是"再现"什么,而是如何使"再现"本身更符合视觉或形式美和感性、感官的需求。一句话,图像的后果就是真实在其中被悄然抹去的娱乐化和审美化,或合而言之即"审美—娱乐化"。
[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.
【作者单位】： 上海外国语大学文学研究院;中国社会科学院文学所理论室;
【分类号】：I01
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本文编号：2039796