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在20世纪中国,文学作为一种现代体制的发展极为曲折反复。现代主义艺术形构在文化整体中的位置竞争,与中国社会现代化进程所产生的真实世界的政治密切关联。中国的文化参与者与其说是在追寻文学和艺术自律的正当性原则,不如说是在寻求一种名符其实的文化正当性原则,以便能够在自身的文化世界中有效地容纳和制衡主导性话语,美学现代主义正好回应了这一需求。由于晚近逐步加剧的全球化进程,现代主义的经典主题和美学形式扮演了一个新的角色,大陆第五代导演作品、台湾新电影、香港类型电影在此过程中扮演了先驱者的角色。侯孝贤、蔡明亮、杨德昌这些台湾新电影运动的中坚对现代主义修辞和美学的偏好是一个典型的“文化全球化”场景:这些作者导演们从他们的本土语境中被“抽离”出来,“重新植入”跨国文化系统之中,对于资本主义现代性如何在20世纪末降临于一个前第三世界地区的种种,做出富有个人意义的美学反思。
In the 20th century China, the development of literature as a modern system is extremely tortuous. The position competition of the modern art form in the whole culture is closely related to the real world politics produced by the process of social modernization in China. Chinese cultural participants are not so much pursuing the principle of legitimacy of literary and artistic self-discipline as they are seeking a truly culturally appropriate principle so that they can effectively accommodate and balance their dominance in their own cultural world Discourse, aesthetics of modernism has just responded to this demand. Due to the recent aggravating globalization process, the classic theme of modernism and the aesthetic form play a new role. The fifth generation directors in mainland China, the New Taiwan film, and the Hong Kong type film play a pioneering role in the process. Hou Hsiao-hsien, Tsai Ming-liang, and Yang Tak-chang These tendencies of Taiwan’s new film movement’s preference for modernist rhetoric and aesthetics are typical “cultural globalization” scenarios in which directors are “pulled” from their native context “Re-implant ” transnational cultural system, to make personal sense of aesthetical reflection on how capitalist modernity came to the end of the 20th century in a former Third World region.