跳到主要內容

臺灣博碩士論文加值系統

(44.192.38.248) 您好!臺灣時間:2022/11/27 06:40
字體大小: 字級放大   字級縮小   預設字形  
回查詢結果 :::

詳目顯示

: 
twitterline
研究生:劉威廷
研究生(外文):LIU, WEI-TING
論文名稱:班雅明論技術與藝術
論文名稱(外文):Walter Benjamin on Technology and Art
指導教授:曾慶豹曾慶豹引用關係
指導教授(外文):KEN-PA CHIN 
口試委員:曾慶豹蔡偉鼎蔡翔任
口試日期:2019-12-13
學位類別:碩士
校院名稱:輔仁大學
系所名稱:哲學系
學門:人文學門
學類:哲學學類
論文種類:學術論文
論文出版年:2020
畢業學年度:108
語文別:中文
論文頁數:68
中文關鍵詞:靈光震驚政治
相關次數:
  • 被引用被引用:0
  • 點閱點閱:276
  • 評分評分:
  • 下載下載:19
  • 收藏至我的研究室書目清單書目收藏:0
本論文探討班雅明論述工業技術進步賦予藝術的改變與影響,技術對藝術的影響間接的擴展到社會與政治,我們能夠看見班雅明對現代性社會的批判與科技技術進步的肯定。在複製技術相當成熟的現代,藝術「靈光」的消逝是現代社會不可避免的,人與藝術作品缺少獨一無二、特定時空中的交流,藝術從少數人擁有轉向大眾化。在班雅明看來,機械複製技術不僅使得藝術品能夠被大規模的製造,也改變了傳統藝術一直以來的固定模式,在藝術領域掀起了一場革命。以機械複製技術為核心的現代藝術,提升了藝術作品的可展示性,降低了它們的神秘感、宗教性以及膜拜價值,將作品的展示價值提升為藝術品的主要價值,也將藝術的欣賞方式從凝神思索轉向娛樂消遣。攝影與電影發展後,藝術大眾化的趨向更為明顯,因攝影與電影能夠完全複製,成為一種方便的傳播工具。大量的複製使得膜拜價值消退,大眾更能輕易地接觸藝術作品,又科技時代下所產生的攝影與電影更讓大眾對於藝術更加開放。應接不暇的商品對大眾所產生結果是改變了他們的觀看方式,在19世紀的巴黎街道上,人群看著琳琅滿目的櫥窗,得到如同從電影那得到的震驚體驗。櫥窗商品以多到無法使人思考,大眾在心理機制中轉換觀看方式,讓商品進入自己,而非自己進入對象,以消遣的方式觀看無法深度交流,最終大眾失去的是自主性。大眾感知的變化轉向整個社會,人與人之間變得無法交流,班雅明意圖解釋城市現象並期望消解人的異化。在資本主義時代,報紙媒介為上層階級所佔有,並不是掌握在創作者手中,也因為生產手段是由上層階級掌握和提供,逼迫知識分子不得不為上層階級服務。現代「靈光」變成一種效果,利用現代傳播力量達到影響。雖然在資本主義社會中,技術進步就是政治進步的基礎,但知識分子顯然只是為少數人服務,而不是為了真正的創作,為了脫離資方的控制,班雅明從馬克思的生產理論得到啟發,重新探藝術的生產技術,他將作者視為生產者,創作技巧放到社會生產關係下,創作技術與政治連結,尋求一種方式達成無產階級革命的目的。
關鍵字:靈光、震驚、政治

This paper investigates Benjamin’s discourse on the changes and impacts industrial tech-nical progress has brought on art and the indirect expansion of the impacts of technology on art to society and politics, in which his critique of modern society and affirmation of technological and technical progress are very much alive. In the modern age when the technique of reproduction has become fairly mature, the fading of the “Aura” of art is in-evitable. The unique communication between human and artworks under specific time and space no longer exist, and art has turned from being enjoyed by a few to being massified. In Benjamin’s view, the mechanical reproduction technique had not only enabled artworks to be mass-produced but also changed the hitherto fixed mode of traditional art, which sparked a revolution in the field of art. Modern art, with the mechanical reproduction technique as its core, has enhanced the displayability of artworks, while reducing their mystique, religious nature, and cult value. The exhibition values within artworks were evaluated to become their main value, and at the same time shifted the mode of appreciat-ing art from concentrated pondering to entertainment and recreation. Since the develop-ment of photography and film, the trend of massification of art was more obvious, as pho-tography and film can be completely reproduced, thus turning them into convenient com-munication tools. Cult value subsides as a result of mass reproduction, making it easier for the masses to come into contact with artworks. Further, photography and film that were born in the technological age have rendered the masses to be more open to art. The overwhelming number of goods has the effect of changing the way of the masses to see things. On the streets in 19th century Paris, as people were looking at the dazzling store windows with sumptuously arranged goods, the experience they got was similar to the shocking experience obtained from films. The commodities displayed in store windows have become so numerous that the view can hardly induce thoughts, as a result of which the masses convert their way of seeing things in their psychological mechanism, allowing the commodities to access themselves, instead of letting the viewer access the objects. Recreationally seeing things deprived the masses of in-depth communication and the masses ultimately lose their autonomy. The change in the perception of the masses ripples through the whole society, disabling the communication between people. Benjamin in-tended to explain urban phenomena and hoped to overcome human alienation. In the capi-talist age, newspaper media are in the grip of the upper class rather than in the hands of creators. Further, as the means of production are owned and provided by the upper class, intellectuals have no choice but to work for them. Modern “Aura” has become an effect, making use of modern communication power to produce impacts. Although in capitalist societies, technical progress is the basis of political progress, intellectuals are obviously working for a minority rather than for true creation. To get rid of the control by capital, Benjamin, with inspiration from Marx’s theory of production, revisited the production technique of art. He considers the author as the producer and places creation skills under the social relations of production such that creation techniques and politics are linked to-gether, in the hope of seeking a way to achieve the goal of the proletarian revolution.

Key words: Aura, shock, political

目 錄
緒論 1
第一章、技術革命 9
第一節、靈光(Aura) 10
第二節、攝影 18
第三節、電影 24
第二章、藝術革命 30
第一節、藝術審美進入大眾視野 30
第二節、人的異化與藝術救贖 35
第三章、政治 42
第一節、藝術的技術生產 42
第二節、對抗政治審美化 47
結語 59
參考資料 63


班雅明作品
《柏林童年》,王涌譯,台北:麥田,2012。
《說故事的人》,林志明譯,台北:臺灣攝影工作室,1998。
《啟迪:本雅明文選》,阿倫特編,張旭東、王斑譯,香港:牛津大學出版社,2012。
《發達資本主義時代的抒情詩人:論波特萊爾》,張旭東、魏文生譯,台北:臉譜出版社,2010。
《迎向靈光消逝的年代》,許綺玲譯,台北:臺灣攝影工作室,1998。
《機械複製時代的藝術作品》,王才勇譯,北京:中國城市出版社,2001。
《作為生產者的作者》,王炳鈞、陳永國、郭軍、蔣洪生譯,南京:河南大學出版社,2014。
《本雅明論攝影》,高瑞瑄譯,北京:中國攝影出版社,2018。

Benjamin Walter, Illuminations, Trans., by Harry Zohn, in Hannah Arendt ed., New York: Schocken Books, 1973.
The Correspondence of Walter Benjamin: 1910-1940, Trans., by Manfred R. Jacobson and Evelyn M. Jacobson, in Gershom Scholem and Theodor W. Adorno eds., Chicago: The University of Chicago Press, 1994.
Walter Benjamin selected writings volume 1 1913-1926, in Michael W. Jennings and Marcus Bullock eds., Cambridge, Massachusetts, and London, England: The Belknap Press of Harvard University Press, 1996.
Walter Benjamin selected writings volume 2 1927-1934, Trans., by Rodney Livingstone and Others, in Michael W. Jennings, Howard Eiland and Gary Smith eds., Cambridge, Massachusetts, and London, England: The Belknap Press of Harvard University Press, 1996.
Walter Benjamin selected writings volume 3 1935-1938, Trans., by Edmund Jephcott, Howard Eiland and Others, in Michael W. Jennings and Howard Eiland eds., Cambridge, Massachusetts, and London, England: The Belknap Press of Harvard University Press, 2002.
Walter Benjamin selected writings volume 4 1938-1940, Trans., by Edmund Jephcott and Others, in Michael W. Jennings and Howard Eiland eds., Cambridge, Massachusetts, and London, England: The Belknap Press of Harvard University Press, 2003.
The Arcades Projects (Das Passagen-Werk), Trans., by Howard Eiland and Kevin McLaughlin, in Rolf Tiedemann ed., Cambridge, Massachusetts, and London, England: The Belknap Press of Harvard University Press, 2002.
On Photography: Walter Benjamin, Trans., by Esther Leslie, in Esther Leslie ed., London: Reaktion Books, 2015.

阿多諾作品
《啟蒙的辯證》,林宏濤譯,台北:商周出版社,2009。
《美學理論》,王柯平譯,成都:四川人民出版社,1998。

專書
上官燕,《游蕩者,城市與現代性》,北京:北京大學出版社,2014。 
王才勇,《代性批判與救贖: 本雅明思想研究 》,上海:學林出版社,2012
石計生,《藝術與社會:閱讀班雅明的美學啟迪》,台北 : 左岸文化出版,2003。
朱寧嘉,《藝術與救贖:本雅明藝術理論研究》,上海:上海人民出版社,2009。
陳嘉明等,《現代性與後現代性》,北京:人民出版社,2001。
馬國明,《班雅明》,台北:東大圖書公司,1998。
郭宏安、章國鋒、王逢振,《二十世紀西方文論研究》,北京:中國社會科學出版社,1997。
賈倞譯,三島憲一,《本雅明、破壞、收集、記憶》,石家莊:河北教育出版社,2001。
德里達,《論瓦爾特・本雅明:現代性、寓言和語言的種子》,郭軍、曹雷雨編,長春:吉林人民出版社,2011。
Buck-Morss, Susan, The Dialectics of Seeing: Walter Benjamin and the Arcades Project, Cambridge, Massachusetts, and London, England: The MIT Press, 1990.
Adorno Theodor, Benjamin Walter, Bloch Ernst, Brecht Bertolt, and Lukács Georg, Aesthetics and Politics, Trans., by Ronald Taylor, in Ronald Taylor ed., London: Verso, 1980.

期刊論文
上官燕,〈本雅明的思想歷程〉,《三峽大學學報》29卷2期,湖北:三峽大學學報(人文社會科學版)編輯部,2005。
彭燕,〈本雅明與拱廊計畫〉,《知識經濟》09期,重慶:科學技術協會,2010。
張麗,〈本雅明「光暈」的特徵及其美學內涵〉,《安徽文學》04期,安徽:文學藝術界聯合會,2009。
張靜瑤,〈本雅明「光暈」(aura)範疇的翻譯與釋讀〉,《河南教育學院學報》 05期,河南:河南教育學院,2015。
蔡偉鼎,〈重訪班雅明的靈光消逝論〉,《哲學與文化》43卷4期,台北:哲學與文化月刊社,2016。

QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top