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面对法西斯主义政治美学化浪潮席卷整个欧洲的严峻形势,本雅明将艺术置于机械复制时代的背景下,依据马克思主义的生产力与生产关系原理,从技术之维来思索和诊断现代艺术的嬗变,在存在方式、受众群体、社会功能层面上,深刻阐发了艺术从传统艺术形态过渡到现代艺术形态的革命性变革,迎向了“灵韵”消逝的机械复制时代,从而将艺术变革与政治批判相结合,开辟了一条马克思主义政治哲学研究的新路径、新视野。
In the face of the grim situation of fascist political aesthetics sweeping across Europe, Benjamin pondered and diagnosed the evolution of modern art from the technical dimension according to the Marxist theory of productive forces and production under the background of the era of mechanical reproduction , Profoundly expounded the revolutionary change of art from the traditional art form to the modern art form on the existential way, audiences and social function level, facing the era of mechanical copy that “Spirit” disappeared, thus transforming art Combined with the criticism of politics, it opens up a new path and a new field of vision in the study of Marxist political philosophy.