缤纷都市中那双游移的审美之眸——“游荡者”内涵之迁变及其核心质素考论

On the Evolution and Essence of the Concept of Flaneur

早期游荡者是19世纪巴黎的产物,他们对现代性有一种欢呼的心态与强大的自信,寻求着"现代生活中史诗性的一面";波德莱尔定义的游荡者是一个创造自己美学世界的君王,在自我的消散与凝聚中摇摆;本雅明塑造的游荡者以怀旧为主导性姿态,又身不由己地卷入商业文化;消费时代以来,游荡者概念渐趋被"游荡性"取代。概而言之,存在着一个以都市审美为核心的游荡者概念圈:最里层的是"漫游者的崇高偶像",最外层的是处于游荡状态的都市人,中间则是由工业城市向消费城市转变过程中由于对立面的变化而产生的由私人性游荡者向公众性游荡者转变的文人群,他们承受着诗意激情与生存困顿的持续冲突,并不断发生转变。贯穿三者的是"不断寻求新的感觉、空间与风格"的游荡性。

Early flaneur is the product of the nineteenth century Paris. Seeking the epic side of modem life, they celebrated the coming of modernity. To Baudelaire, Flaneur was defined as a king who created an aesthetic world for himself. Benjamin＇s definition of flaneur was marked by nostalgia, and finally, they transformed into commercial culture involuntarily. Since the Consumption Age, the concept of Flaneur, with the Flanerie being ＂seeking for new feeling, space and style＂ as the core, formed a triple concept circle revolving around ＂the classical flancur＂ ： Locating at the innermost layer is the classical flaneur, at the outermost layer is the urbanite hanging out on the street, and in the middle of the circle is the ＂men of letters＂ changing flaneur thanks to the transformation from industrial city to consumption city tween poetic passion and hardship of surviveal. from the personal flaneur to the public They endure the continuous conflict between poetic passion and hardship of surviveal.