摘要
鲍德里亚认为,当代世界是一个以过剩为特征的透明世界;同样地,当代艺术是一种以真实过剩和幻觉不足为特征的淫秽世界,这个世界使艺术完全偏离其本质。因此,鲍德里亚大声疾呼,艺术应该回到它固有的轨道,从"有"回归于"无",回复到一种幻觉形式,一种彼岸形式;同时,鲍德里亚指出,艺术,作为一种形式,它有它的命运——诱惑的命运。作为一种富有诱惑命运的形式,艺术应该也必须是一种象征的诗学,幻觉的诗学,具有独异性和童真性的诗学,从而也是一种包含了秘密或神秘性的诗学。
Baudrillard claims that contemporary world is a transparent world characterized by excess, while contemporary art is an obscene world in which the reality is excessive and illusion is deficient. Art has been made entirely deviated from its essence. Therefore, Bandrillard therefore calls for the return of art to its inherent way from "something" back to "nothing," returning to a form of illusion or a form of other-worldness. At the same time, Baudrillard also points out that art as a form has its own destiny, a destiny of seduction. As form of seduction, art should also become a symbolic poetics, a poetics of illusion with an uniqueness and originality and with secret or mystery.
出处
《文艺理论研究》
CSSCI
北大核心
2016年第3期101-109,共9页
Theoretical Studies in Literature and Art
基金
国家社会基金项目"鲍德里亚的艺术哲学研究"[项目编号:14BZ111]的阶段性成果
关键词
形式
幻觉
诱惑
命运
form
illusion
seduction
destiny