"La vie"是柏格森哲学的核心概念,也是其美学思想的基石。在法语中既指具体的社会生活,也指无形的精神生命。关注生命意味着柏格森美学具有形下与形上双向思考:艺术既要关注现实生活,借助智能反映当下的实用与功利,又要不断..."La vie"是柏格森哲学的核心概念,也是其美学思想的基石。在法语中既指具体的社会生活,也指无形的精神生命。关注生命意味着柏格森美学具有形下与形上双向思考:艺术既要关注现实生活,借助智能反映当下的实用与功利,又要不断超越现实,凭借绵延直觉去感知终极实在。正如生命的不停变化,柏格森美学与其哲学如形随形,历经了从生活到生命、从喜剧到纯艺术、从同情到直觉的动态发展过程。展开更多
What we witness is that Oshii＇s narrative and patriarchal technology creates the female cyborgs, who simply mirror male heterosexual desire and who are denied agency in their role. Oshii does not imagine any possibil...What we witness is that Oshii＇s narrative and patriarchal technology creates the female cyborgs, who simply mirror male heterosexual desire and who are denied agency in their role. Oshii does not imagine any possibility that might destabilize his newly-imagined order, such as a cyborg that might upset heterosexuality. The absence of any female agency or desire in his cyber fantasy questions its subversive potential. Oshii seems to be immune to feminist theories on posthuman existence that conceptualizes subjectivity outside the gender polarities. Oshii describes a society where high technology only reinforces gender polarities. The representations of women＇s relationship to technology in Oshii＇s film, therefore, are quite problematic; the transgression of boundaries does not work out to reduce or annihilate domination by patriarchal needs and desires. Despite the fact that Oshii denies his female cyborgs a subject position other than that based exclusively in patriarchal fear and desire, his representations mark an ambivalence inherent in cyborg resistance, and feminist politics need to pay attention to such ambivalence.展开更多
文摘What we witness is that Oshii＇s narrative and patriarchal technology creates the female cyborgs, who simply mirror male heterosexual desire and who are denied agency in their role. Oshii does not imagine any possibility that might destabilize his newly-imagined order, such as a cyborg that might upset heterosexuality. The absence of any female agency or desire in his cyber fantasy questions its subversive potential. Oshii seems to be immune to feminist theories on posthuman existence that conceptualizes subjectivity outside the gender polarities. Oshii describes a society where high technology only reinforces gender polarities. The representations of women＇s relationship to technology in Oshii＇s film, therefore, are quite problematic; the transgression of boundaries does not work out to reduce or annihilate domination by patriarchal needs and desires. Despite the fact that Oshii denies his female cyborgs a subject position other than that based exclusively in patriarchal fear and desire, his representations mark an ambivalence inherent in cyborg resistance, and feminist politics need to pay attention to such ambivalence.
