批判现代性与观看

Criticism of Modernity and "Seeing"

通过追溯"观看"的谱系,可以发现不同时期的"观看"是哲学的姿态、美学的态度和意识形态的操控。本雅明和福柯的视觉文化理论体现了对现代性的批判。本雅明的艺术观看体现在光晕和震惊两种经验形态中,而拱廊街和游荡者是本雅明在巴黎都市生活中看到的两种寓意性视像。现代生活和现代艺术的观看反映出本雅明独特的历史意识,从而达到对现代性的批判。福柯借助绘画的观看来展开现代知识型的思考:绘画的档案分析反映出古典知识型和现代知识型的断裂,福柯由此开始目光与陈述相结合的哲学思考。而边沁的全景敞视监狱使福柯发现了现代社会观看的细微隐秘及严酷。对本雅明和福柯而言,观看是看与被看的辩证运动、主体的建构与规训、社会的批判力量。

With the study of the genealogy of“seeing”, the thesis finds out that “seeing” stands for philosophical gesture, aesthetical attitude and ideological manipulation. The visual culture theories of Walter Benjamin and Michel Foucault embody the criticism of modernity. Benjamin＇s “seeing” of art lies in two types of experience： aura and shock, while his “seeing” of modern city life in Paris is based on two allegorical images： the arcade mad the flaneur. The “seeing” of modern art mad city life reveals the unique historical sense of Benjamin, which was devoted to the criticism of modernity. Foucault＇s modem episteme was founded on the “seeing” of paintings： treated as archives, paintings were analyzed with the conclusion that the discontinuity between classical mad modem episteme existed, and thus began Foucault＇s philosophical contemplation of gaze combined with presentation. Foucault also disclosed the cruelty and subtlety of the “seeing” in modem society through Bentham＇s panopticon. To both philosophers, “seeing” is the dialectical movement of“to see” mad “to be seen”, the construction mad manipulation of the subject mad the critical power of modern society.