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題 名 | 阿多諾的「形象自身」概念=On Adorno's "Figure in Itself" |
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作 者 | 陳瑞文; | 書刊名 | 高雄師大學報 |
卷 期 | 14 2003.04[民92.04] |
頁 次 | 頁179-203 |
分類號 | 901.1、901.1 |
關鍵詞 | 形象自身; 現代藝術; 主體; 靈光消逝; 異化; Figure in itself; Modern art; Subject; Perte de l'aura; Alienation; |
語 文 | 中文(Chinese) |
中文摘要 | 本文旨在闡明阿多諾的現代作品之「形象自身」概念。前言,指出「形象自身」觀念在阿多諾美學裡的重要性。第一部分,認為「形象自身」概念的形成,受黑格爾文字風格的影響,但彼此的美學觀卻又南轅北轍。第二部分列出「形象自身」概念所意涵的「詩之主體」、「靈光消逝」和「新藝術視野」。第三部分,從阿多諾論現代作品之實例,剖析「現象自身」所具有直接性、解構、貧乏、野蠻、主體瓦解與去神話等表現性格。最後,歸納出阿多諾以「顯現」和「表現」兩個階段,塑造「形象自身」概念,同時強調「形象自身」概念不只在於提出現代藝術理論,其實它主要是阿多諾重建哲學與美學的依據。 |
英文摘要 | This paper discusses the concept of "Figure in Itself" in Adorno's modern art. The introduction summarizes the importance of "Figure in Itself" concept in Adorno's esthetics. The first part of the paper argues that the formation of "Firgure in Itself" was influenced by the stylistic of Hegel's works; however, their esthetic views are far apart from each other. The second part of the paper explains the ideas of "subject of poem", "perte de l'aura", and "vision of new art" advocated in "Firgure in Itself." The third part exemplifies the characteristics of immediacy, destructuration, impoverishment, barbary, dissolution of the subject, and demythologization in "Fgure in Itself" from Adorno's own criticism on modern art pieces. The paper concludes that apparition and expression are the two stages of forming the concept of "Figure in Itself." Meanwhile, the paper also emphasizes that this concept does not only propose the theory of modern art, but also function as the base for Adorno to reconstruct his philososphy and esthetics. |
本系統中英文摘要資訊取自各篇刊載內容。