论文部分内容阅读
对本雅明而言,要获得艺术品的真理性内容,我们必须摧毁其物质外壳即美。讽喻理论是对此论点的系统展开。讽喻的辩证意义在于,一方面,它指向一个无法得到上帝救赎之光的黑暗世界,就此而言它具有一种深刻的批判力量,借此可以粉碎现代性神话打造的美丽谎言;但另一方面,正因绝望,希望才被赋予我们,讽喻理念的内在张力又引向对自身的颠倒甚至取消,并指向弥赛亚主义的得救可能性。正是在这样的意义上,波德莱尔是一个讽喻诗人,他借助于具有恐怖主义自杀性质的毁灭,吊诡地保存了理念。在本雅明晚年,讽喻理论的表达式是辩证形相,辩证形相的目的在于世俗启迪,并将真理性内容呈现出来。
For Benjamin, in order to obtain the truthful content of the artwork, we must destroy its material outer appearance. Allegory theory is a systematic development of this argument. The dialectical meaning of the allegory is that on the one hand, it points to a dark world that can not receive the light of God’s redemption, for which it has a profound critical power to crush the beautiful lies created by the myths of modernity; on the other hand Just because of hopelessness, hope was given to us. The inherent tension of the allegory idea turned to reversing or even reversing itself and pointed to the possibility of salvation of Messianicism. It is in this sense that Baudelaire is an allegory poet who, by virtue of the devastation of the nature of terrorist suicide, holds the concept in a weird way. In Benjamin’s later years, the expression of allegory theory is dialectical, dialectical and philosophical in the sense of secular enlightenment and the presentation of truthfulness.