"本原就是目标"--本雅明的思想地形图

法兰克福学派的重要成员瓦尔特·本雅明的文化批判思想是该学派的重要理论建树"否定辩证法"和"启蒙辩证法"的直接思想来源,然而他本人的理论关怀却远远超越了单纯的否定与批判,而是在对资产阶级意识形态解构之后寻求积极的建构,表现了一个人文知识分子对历史与社会的高度伦理责任感.但他的批评方法极其独特,是神学与马克思主义的奇妙结合,因此他对资本主义现代性的批判以弥赛亚主义的救赎为目的.他认为这样一个乌托邦原本是人类的本原,是在现代性中被打破的,所以批评的终极指归是重建本原.由此,他的整个理论关怀用他所喜爱的名言来概括,即"本原就是目标".本文以德法文论的差异走向为背景,以本氏思想与这一背景的关系为参照,勾勒出他的文化批判思想和哲学方法论的地形图,使他的这一思想主线一目了然.     

The Art of Straying: Benjamin on Distraction and the Informal Education of the City

In this article, Tyson E. Lewis argues for an alternative form of educational attunement beyond attentiveness. Discourses and practices of schooling emphasize being attentive as a primary educational virtue. This emphasis casts distraction as either the negation of attention or its deterioration. In either case, distraction lacks educational use and, as such, must be overcome through the cultivation of attention. Yet this approach to the question of attention versus distraction misses how distraction contains within itself a different kind of educational potentiality, a different kind of educational attunement. In an attempt to carve out space and time for distraction, Lewis turns to the writings of Walter Benjamin who offers up a more complex view of distraction than is presently found in educational philosophy. In particular, Benjamin argues that cities are not only places of negative forms of distraction (as mere diversions), but also places for cultivating productive distraction in the form of an open and alert attunement to new ways of experiencing and perceiving the relationship between world and self. Cities, for Benjamin, become educational spaces that teach lessons in a distracted form of life, the culmination of which is the creativity expressed in what he refers to as “the art of straying.”     

鲁迅与本雅明眼中最理想的翻译

鲁迅和本雅明是生活在同一时代,不同国度的两位著名学者。他们在最理想的翻译问题上所持的观点非常相似：借助外国语言来深化本国语言;主张透明的翻译,反对过度归化。他们持有相似观点并非偶然,然而表面的相似也隐藏着各自理论思想的差异。鲁迅和本雅明生活的历史背景、所持的语言观、翻译观存在差异和相似形,同时也折射出各自眼中理想的翻译。     

The “Other” in the Crusading Period: Walter the Chancellor's Presentation of Najm al-Dīn Il-Ghāzī

This paper examines ideas surrounding the presentation of the Muslim “other” in Latin writings of the early period of the Crusades. Using a case-study approach of the views of one chronicler, Walter the Chancellor, in his work Bella Antiochena, on one individual Muslim, Najm al-Dīn Il-Ghāzī, the paper studies aspects of the image of Il-Ghāzī, the reasons for them, how and why they develop throughout the chronicle, and whether, from the other information given in the chronicle, it would be possible to interpret the information in other ways. The conclusions reached demonstrate that the reason for the vitriol in Walter's presentation was his wish to justify the Crusades and suggest that the writers of Outremer started to develop their own cross-cultural responses to Islam, independent of mainstream European thought, because of their situation.     

本杰明的现代都市文化批判思想

本杰明是都市文化研究中的重要人物,他从文艺批评对现代性文化进行探讨入手,以拱廊街计划为核心进行了现代都市文化的研究,对现代文化中的文明和野蛮的交织进行了分析,这是启蒙辩证法的先兆甚至核心。     

现代性语境中的"阿本之争"

在现代性语境中,＂阿本之争＂体现了现代性问题的悖论性与复杂性,表征着＂现代性的张力＂。在电影观上,阿多诺与本雅明有着重大的分歧：前者认为电影是极权的工具,它抑制受众的想象力,有着粗鄙化的商业倾向;后者则认为电影是反抗极权的武器,它打破艺术的贵族化垄断,丰富受众的感知方式。＂阿本之争＂的背后潜隐着如何认知现代社会与现代艺术的离合关系、如何认清科技的压抑性与诗意性的共生关系以及如何捍卫现代性语境中个体的＂完整的自由＂等十分棘手的问题。     

艺术的"祛魅"与大众的舞台——试论本雅明艺术生产理论对中国大众文化研究的启示

中国大众文化研究中存在的一个突出问题是对大众文化进行精英主义式的批评,然而,以审美主义为价值标准难以挖掘大众文化本身所蕴藏的丰富美学诉求。本雅明的艺术生产理论为中国当前的大众文化研究提供了新的思路和视野。他认为每种艺术样式和审美价值都有其特定的历史文化土壤,我们对待艺术的生存困境与对新艺术形式的评价应在承认客观现实前提下探究和思索,这对中国的大众文化研究颇富启示性。     

Scientific Phenomenology in Design Pedagogy: The Legacy of Walter Gropius and Gestalt Psychology

This article examines the contribution of scientific phenomenology in design pedagogy through the theoretical relationships between the German art school Staatliches Bauhaus and the most important scientific phenomenological theories of the first half of the twentieth century. After showing the relationships between the Gestalt Theory and the principal teachers of the Bauhaus (Johannes Itten, Paul Klee, Wassily Kandinsky, László Moholy‐Nagy, Josef Albers), the pedagogical epistemology of Walter Gropius is critically presented. The epoché, the intersubjective criterion and the anti‐psychologism are examined. In conclusion, it is evidenced that Gropius was strongly influenced by Gestalt psychology. This undeclared influence was a necessary consequence of the fact that phenomenological attitude is a crucial operating modality for the concrete practice of design.     

论贡斯当自由主义辨析理论的价值

贡斯当第一次将自由区分为古代人的自由(政治自由)和现代人的自由(个人自由)，并阐释了这两种自由观的内涵、形成原因以及混淆两种自由观的实践后果。其自由观在西方自由主义思想史中具有重要的政治、经济、学术价值。