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作为后现代社会一种特殊的感性体验(审美生存)作业样式,“怀旧文化”使得人们在现实与历史、自我与他者、虚拟与实在的碰撞与协调之间找回自我发展、社会和谐的同一性与连续性。尽管怀旧文化作为一种明理格物的文化样式合宜,但其作为一种思想馈赠的文化逻辑无效。怀旧本身关涉“个人记忆”和“集体记忆”两个端点,而勾连这两个端点的网络空间,恰好提供了当代怀旧文化充分展开的社会公共空间。关键的问题在于,怀旧文化在迎合科技进步、社会转型和大众自由发声逻辑需求时,何以不动声色地秉持哲学自身基于现实权力镜像的“隐性批判”本色。
As a special style of perceptual experience (aesthetic living) in post-modern society, “nostalgia culture” enables people to regain their self-development between the reality and history, the self and the other, the collision and coordination between the virtual and the real, and the society Harmony of identity and continuity. Although nostalgia is appropriate as a cultural style of plaintext, its cultural logic as a gift of thought is not valid. Nostalgia itself relates to the two endpoints of “personal memory ” and “collective memory ”, and the network space linking the two endpoints provides the social public space full of contemporary nostalgia culture. The crux of the problem lies in how the nostalgia culture, while cateching to the scientific and technological progress, social transformation, and the logic of the public’s free voice, unswervingly upholds the “implicit criticism” of philosophy itself based on the mirror of the real power.