摘要
白波德莱尔以来,“新奇”成为审美现代性的核心范畴之一。波德莱尔之“新奇”是指艺术家对瞬间呈现的美的捕捉,它标识着主体的“独创性”;阿多诺把艺术对“新奇”之物的渴求,规定为艺术对抗物化现实的“动能”和策略;罗兰·巴特的“新奇”则是指“文”的生产性。通过对“新奇”的意义之蜕变的考察,透视出审美现代性展开的脉络及其危机。
Since Baudelaire, ＂novelty＂ has become one of core categories of Aesthetic modernity. In Baudelaire＇s works, ＂novelty＂ denotes ＂originality＂, artists should catch the ＂beauty＂ that presents at an instant; Adomo insists that art should aspire to be something of ＂novelty＂. By this, art can battle fetishism; Roland Barthes＇ novelty denotes the productivity of ＂text＂. Through the study of the transformation of ＂novelty＂ , we can trace the development process of aesthetic modernity and realize its crisis.
出处
《云南社会科学》
CSSCI
北大核心
2006年第2期130-133,共4页
Social Sciences in Yunnan
关键词
新奇
审美现代性
主体性
拜物教
文
Novelty
Aesthetic modernity
Subjectivity
Fetishism
Text
