【作者】 刘志；

【导师】 徐岱；

【作者基本信息】 浙江大学 ， 文艺学， 2005， 博士

【副题名】本雅明批评思想研究

【摘要】 本雅明是20世纪重要的文艺批评家,他的早期思想力图在一个体系哲学和批评理论已不再受到重视的时代重新确立批评的权威,其策略是希望通过对一种批评理论的构建,借助对文学的评价这道桥梁来理解社会和历史,从而实现从文艺批评到文化批评的跨越, 本雅明的哲学思想受到了莱布尼茨、康德、黑格尔、费希特以及尼采、叔本华、柏格森等的影响,希望发展一种规避理性主义和非理性主义哲学弊端的新经验哲学。在批评观上则受到浪漫派批评家弗·施莱格尔、诺瓦利斯、荷尔德林、歌德等的影响。从现代性的角度看,他力图运用马克斯·韦伯、西美尔、马克思等的思想方法来考察现代性的起源以及现代审美经验的历史变迁问题。但由于个人坎坷的命运和所处的历史境遇的影响使得他又青睐于一种带有审美色彩的神学救赎思想。并希望以此走出困境中的历史时间之流,这一点在其后期体现地尤为明显。在其批评实践中本雅明创造性地提出了一些重要的术语,比如氛围、灵光、反讽、寓言等,这些不仅集中体现了他的批评思想,同时也展示了他个人独特的批评风格。作为一个思想者的批评家,本雅明的批评文本贯彻着一种通过对文学的解读旁涉整个文化领域,努力从文学中挖掘哲学、美学、神学等内涵的思路,体现了浪漫派思想家冷静反思的批评原则和通过思来建构艺术哲学本体的追求,这同时在理论构建上他忽视了艺术体验中的审美感染力。 本雅明的批评思想涉及到语言、翻译、历史、政治、神学等多个文化领域。他从对《圣经》的解读中提出一种神学语言学思想,并用其来考察人类的整个精神发展史,由于其语言学思想具有符号学的维度,从而在解释广泛的可理解性的文化现象时具有一种涵盖力。但对一种史前纯语言的理想性想象导致了本雅明在对人类语言意义的认识上走入了歧途。他的历史瞬间救赎思想也有着浓重的神学和美学色彩,在对文化史的考察中本雅明提出了一种有机的文化史观,避免了各学科孤立地研究历史问题的弊端。 从审美现代性的角度看,本雅明从自己的体验出发,深入到现代人审美经验变迁的深处,从现代艺术中提炼出一种新的感受模式,它体现在艺术灵光的消失、以及讲故事和现代抒情诗的衰微之中。当本雅明对这些审美经验变迁从感性描述转变到用一种社会理论来把握时,便导致了理性建构上的一些偏失。他的批评思想也受到波德莱尔、卡夫卡、普鲁斯特等现代主义作家的影响,从一种对时间的沉浸与游离的角度看,本雅明将波德莱尔的震惊的现在、卡夫卡的绝望的将来和普鲁斯特的回忆的过去时间体验,纳入到自己的文艺批评思想中,并从自己的体验出发去理解和印证,这就使得本雅明对现代艺术的批评不仅仅是一种理性之思的分析,同时还是一种感性之诗的体验和介入,思与诗的张力构成了本雅明批评思想的主旋律。更多还原

【Abstract】 Benjamin is a great literary critic in 20th century. At the early stage he tried hard to reestablish the authority of criticism in the era when systematic philosophy and critical theory were aot paid much attention to any more. His tactics was to establish his own theory of criticism and then acquire a better understanding of society and history by criticizing literature, and thereby succeed in spanning from literary criticism to culture criticism. Influenced by Leibniz, Kant, Hegel, Fichte, Nietzsche, Schopenhauer and Hberson, his philosophical theory was expected to develop into a new empirical philosophy, which had got rid of the disadvantages of rationalism and nonrationalism. His criticism theory was affected by the romantic critics such as F Schlege, Holderlin, Goethe etc. From the aspect of modernism, he tried hard to make use of the method and thoughts of Mars Weber, Simmel and Marx to inspect the origin of modernism and the changes of modern aesthetic experience. However, his frustrated lifetime and the historical situation engendered him to prefer a theological benevolence. Consequently, he hoped to get out of the river of historical time, which was in predicament. In his later works, he put forward some terms like das gedichtete, aura, irony, fable, which not only embodied his theory of criticism, but also revealed his particular critical style. As both a critic and philosopher, Benjamin’s critical works dealt with a wide range of culture by means of interpreting literary works. He strove to unearth the philosophical, aesthetic and theological connotations from literary works, which reflected a romantic philosopher’s sober and reflecting critical principles and his purpose of constructing aesthetic philosophy itself. However, meanwhile he did not pay enough attention to the artistic appeal.Benjamin’s theory of criticism involved linguistics, translation,history, politics and theology. By interpreting The Bible he put forward a new theological linguistic theory, of which he made use to inspect thewhole history of human’s ideology. His linguistic theory can be used to explain wide, comprehensible cultural phenomena. However, his ideal imagination of prehistoric pure language led him astray in the understanding of the significance of human’s language. In addition his theory of historical instantaneous benevolence showed deep color of theology and aesthetics. In the investigation of cultural history he created an organic view on cultural history, which avoided the drawbacks of study history problems in isolation. From the viewpoint of aesthetic modernity, he, from the considerations of his own experience, went deep into the changes of modern people’s aesthetic experience and subsequently refined a new feeling pattern, which could be seen in the disappearance of the artistic aura, the declining of stories and modern lyrics. He converted the perceptual descriptions of these changes of aesthetic experience into a social theoretical更多还原