瓦尔特·本杰明的韵论研究

A STUDY OF WALTER BENJAMIN'S "AURAR

人类生存的合理性问题和艺术与人类存在的关系问题是本杰明始终关注的两个问题。本杰明的韵论就是在他用艺术人类学的方法对人类艺术形式问题进行研究的过程中形成的。本杰明通过展现“韵”的四个特征而揭示出“韵”的实质内涵,并力图打破“韵”的贵族性和仪式性外壳,以便让人类在对自己的真实需要和真实愿望有了更深刻的认识之后获得在现实中重建合理生活的希望和信心。与中国美学之“韵”比较,本杰明的韵论“务实”而厚重,没有中国式的空灵与优美。而让艺术与审美担当过大的重任,忽视了无产阶级政治革命的必要性,这是本杰明的韵论的局限性所在。

The rational existence of human beings and the relation between art and mankind's Being are two issues that Benjamin has always concerned himself with. Benjamin's theory of aurar is shaped in the course of his study of human art forms with the approach of artistic anthropology. Benjamin has revealed the essential connotation of aurar by way of exhibiting its four features and endeavoured to break up its aristocratic and ritual crust in order that human race may reconstruct their hope and faith in living a rational life in realities after their deep understanding of what the real human want is and what the real human desire is. As compared with the lingering charm(韵)of the Chinese aesthetics, Benjamin's theory of aurar is rather 'practical' and decorous but void of very much space for further thought and the lasting appeal of the Chinese genre. The limit of Benjamin's 'aurar' lies in the fact that he imposes too heavy a task on art and the aesthetic and neglects the necessity of proletarian political revolution.