摘要
在什克洛夫斯基提出陌生化诗学理论后约20年,德国戏剧美学家布莱希特从戏剧理论方面对陌生化理论进行了阐述。此理论受到中国京剧艺术表演效果的影响,是俄国形式主义和德国认识论哲学的综合产物。什克洛夫斯基将陌生化视为一个美学范畴,而布莱希特则将这个美学范畴移到社会批判领域,使其成为一个具有批判哲学意味的概念。陌生化意味着主体认识论的完善,是布莱希特实现其现代性批判的策略。
After Shklovsky puts forward the conception of Defamiliarization about 20 years, Brecht, the German drama aesthetician, interpreted defamiliarization from the perspective of drama comprehension. Affected by performance of Chinese Peking opera art, the Defamiliarization is a comprehensive product of Russian formalism and German epistemological philosophy. Shklovsky included Defamiliarization in aesthetic category so as to realize aesthetic value, and Brecht has transferred the aesthetic category to social criticism field, making it a concept with critical philosophical significance. Defamilarization means the perfective of subject＇ s epistemology, which is a strategy of modernity criticism.
出处
《俄罗斯文艺》
CSSCI
2015年第2期60-66,共7页
Russian Literature & Arts
基金
国家社科基金项目:"齐美尔与法兰克福学派文艺理论的关联研究"(10CZW007)阶段性成果
