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艺术论文:情境理论 [6]

论文作者:www.51lunwen.org论文属性:硕士毕业论文 thesis登出时间:2015-12-26编辑:zhaotianyun点击率:22562

论文字数:8874论文编号:org201511142028452266语种:英语 English地区:澳大利亚价格:免费论文

关键词:Situationist Theory资本主义芭芭拉克鲁格

摘要:摘要:本文主要讲述了情境主义在欧洲先锋派运动的背景下的运用和体现。

al communism will be the leap into the domain of freedom and of value, of communication. Contrary to utilitarian value (normally known as material value), artistic value is the progressive value because, by a process of provocation, it is the valorization of humanity itself.
 Since Marx, economic Politics has shown its impotence and its cowardice. A hyperpolitics will need to strive for the direct realization of humanity.”

本雅明正宗的反对:繁殖的危机——Walter Benjamin's authentic opposition: the Crisis of Reproduction


Walter Benjamin is probably Adorno's most established opponent, particularly since 'The Work of Art in the Age of Mechanical Reproduction', a work that concentrated upon defining the 'aura' of traditional art preceding 1900, and assessed the decay of this aura under the impact of new media and cultural technologies. Benjamin argues that art has lost its 'authenticity' because of mechanical mass reproduction in our capitalist-orientated culture industry. He is concerned about shifting attitudes to art, which came about as a consequence of the introduction of mechanical means of reproduction.

'Formerly unique objects, located in a particular space, lost their singularity as they became accessible to many people in diverse places. Lost too was the 'aura' that was attached to a work of Art which was now open to many different readings and interpretations'

Unlike his Frankfurt School colleagues, however, and especially unlike Adorno, Benjamin argues, this loss of authenticity is actually a positive thing, because it democratizes and politicizes art. Benjamin's claim that art's loss of authenticity might actually help free people, not enslave them in a capitalist culture industry starkly opposes Adorno's ideas. In addition, each stage of reproduction of an original work of art also contributes to its loss of aura.

According to Benjamin, then: culture has been transformed into an industry; thus art has become commodified; contemporary culture is the machinery by which oppressive ideologies are reproduced and disseminated; new media technologies such as phonographs, film and photography, serve to destroy art's 'aura' and effectively demystify the process of creating art, making available radical new access and roles for art in mass culture; the spectator has become a collaborator and participant, who joins the author in determining the meaning of the production of the work of art. Art is 'successful' only when it enables the critical contemplation of a viewer.

Benjamin happily equates authenticity with authority- the authority of oppressive institutions such as the church or the state- and history. As Benjamin explains, the work of art's authenticity is 'the essence of all that is transmissible from its beginning, ranging from its substantive duration to its testimony to the history which it has experienced'

Until the 20th century, artworks retained their aura, their “authenticity” precisely because of their inability to be mass-reproduced, whether religious artifacts or one-off paintings commissioned by individual wealthy patrons. This conception clearly presents aura and authenticity as profoundly undemocratic, as the means of artistic production remain in the control of the rich and powerful, then able use such art to maintain control over the masses. The 论文英语论文网提供整理,提供论文代写英语论文代写代写论文代写英语论文代写留学生论文代写英文论文留学生论文代写相关核心关键词搜索。

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