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苏珊·桑塔格:一位好战的唯美主义者 被引量:3

Susan Sontag: A Controversial Aesthete
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摘要 桑塔格对艺术审美品格的偏爱使她具有了一种唯美主义气质,这种气质在其理论文集《反对阐释》中得到了具体的阐发。为反对传统的"内容说",解构"内容/形式"的二分法,桑塔格提出"反对阐释"的美学主张。"反对阐释"理论使批评的功能发生了转变:即不再关注作品"说什么",而是"怎么说"。于是,艺术与非艺术、高雅文化与通俗文化之间的界限也被瓦解了。正是在这种意义上,桑塔格成了一位前卫艺术的精神代言人。 The preference for the artistic form makes Sontag bear a temperament of aestheticism which is explained in detail in her corpus Against Interpretation.For opposing traditional literary ideas and dichotomy of Content/Form,the claim,against interpretation,is brought forward by Susan Sontag.The theory of "Againstinterpretation" changes the function of literary criticism,namely "how to say" instead of "what to say" is more emphasized.In this sense,the differences between art and non-art,elegant and popular culture are deconstructed.
作者 孙燕
出处 《贵州大学学报(社会科学版)》 2007年第5期70-74,共5页 Journal of Guizhou University(Social Sciences)
关键词 桑塔格 唯美主义 反对阐释 坎普 Sontag aestheticism against-interpretation camp
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  • 1[31,32]Carl Rollyson,Reading Susan Sontag :A Critical Introduction to Her Work,Chicago:Ivan R.Dee,2001,p.vii,p.69,p.69.
  • 2Susan Sontag,"Against Interpretation," in Against Interpretation and Other Essays,New York:Octagon Books,1982,p.14,p.7.
  • 3参见杨任敬《20世纪美国文学史》,青岛出版社1999版,第604页.
  • 4Susan Sontag,"Notes on 'Camp' ," in A Susan Sontag Reader,New York:Farrar,Straus and Giroux,Inc.,1982,p.105.
  • 5See Fabio Cleto ed.) ,Camp:Queer Aesthetics and The Performing Subject-A Reader,Ann Arbor:The University of Michigan Press,1999,p.44.
  • 6Roland Barthes,"The Face of Garbo," in Mythologies,trans.Annette Lavers,New York:Hill and Wang,1972,p.57.
  • 7[9,14,15,18,19,20,21,22,23]Susan Sontag,"Notes on 'Camp' ," in Against Interpretation and Other Essays,p.287,p.287,p.287,p.287,p.290,p.291,p.289,pp.288 - 289,p.277,p.280.
  • 8[11,16,28]See Liam Kennedy,Susan Sontag:Mind As Passion,Manchester & New York:Manchester University Press,1995,p.27,p.27,p.33,p.34.
  • 9See Walter Banjamin,"The Work of Art in the Age of Mechanical Reproduction," in David H.Richter ( ed.) ,The Critical Tradition:Classic Texts and Contemporary Trends (2nd edition ),Boston:Bedford Books,1998,pp.1109-1114,p.1125.
  • 10See David Bergman (ed.) ,Camp Grounds:Style and Homosexuality,"Introduction," Amherst:University of Massachusetts,pp.4 - 5.

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