L'Oeuvre d'art à l'époque de sa reproductibilté technique pdf epub mobi txt 电子书 下载 2026

简体网页||繁体网页

☆☆☆☆☆

出版者:Allia

作者:Walter Benjamin

出品人:

页数:79

译者:

出版时间:2003-1-29

价格:EUR 6.10

装帧:Poche

isbn号码:9782844851079

丛书系列:

图书标签:

• WalterBenjamin
• 马哲
• 瓦尔特·本雅明
• 法语
• 德语@Walter_Benjamin
• 德国
• français
• Walter
• 艺术作品·技术复制·现代艺术·视觉文化·媒介理论·摄影·图像复制·美学·艺术史·技术哲学

《艺术作品在摄影与电影技术出现时期的命运》 在机械复制技术日新月异的时代，艺术作品的本质究竟发生了怎样的变化？本卷旨在深入探讨这个问题，剖析摄影和电影等复制技术的出现，如何从根本上重塑了我们对艺术的理解、体验和评价。 一、复制技术：艺术的“瘟疫”与解放 本章首先回顾了复制技术的早期发展，从石版画、铜版画到现代的摄影和电影。我们将考察这些技术如何在传播速度、传播范围和传播成本上对艺术品产生颠覆性影响。过去，艺术品是独一无二的、神圣的、需要亲身前往才能感受的，其价值很大程度上与其“在场性”紧密相连。然而，摄影和电影的出现，使得艺术作品得以被大量复制，轻易地传播到世界各地，触及前所未有的观众群体。 这种“复制”并非简单的复制，它是一场深刻的“解放”，将艺术从其原有的物质载体和特定时空语境中剥离出来，使其获得新的生命。观众不再需要跋涉千山万水去瞻仰蒙娜丽莎的微笑，只需一张照片，或是一段影像，就能“看见”它。这种可见性的极大扩展，无疑是一场艺术的民主化运动。 然而，这场解放并非没有代价。复制技术也带来了一种“瘟疫”，一种对艺术作品“灵韵”的侵蚀。当一件艺术品可以无限复制时，它原本的唯一性和独特性便被稀释。原件所蕴含的那种与生俱来的、在特定时空中所形成的、独一无二的“在场感”——即我们常说的“灵韵”（aura）——在复制品中荡然无存。这种“灵韵”是什么？它与作品的历史、其创作者的生命轨迹、其曾经被无数人凝视过的经验交织在一起，构成了艺术品最神秘、最难以言说的核心魅力。 二、灵韵的消逝与艺术功能的转变 本章将重点剖析“灵韵”的消逝对艺术作品功能带来的根本性转变。 从“礼仪价值”到“展览价值”： 在复制技术出现之前，艺术品的主要价值在于其“礼仪价值”。它们往往被供奉在宗教场所或贵族宫廷，其功能与宗教仪式、政治权力或社会地位紧密相连。其价值体现在其在特定场合的独特性和不可替代性。而复制技术，特别是摄影和电影，使得艺术品可以脱离原有的礼仪语境，进入博物馆、画廊等公共空间，其价值更多地体现在“展览价值”上。艺术品作为一种可供观赏、研究的对象，其价值在于其形式、技巧、历史意义以及对观众产生的启迪。 艺术品的新“生命”： 灵韵的消逝并不意味着艺术品的死亡，而是艺术品获得了新的生命。摄影和电影等技术，使得艺术品得以被重新“解读”。摄影可以捕捉到肉眼难以察觉的细节，电影则可以通过剪辑、蒙太奇等手法，赋予作品新的叙事和情感张力。例如，对一幅名画进行高清复制，我们可以近距离观察到画家的笔触，这是在原作前可能无法实现的。电影可以通过对雕塑不同角度的拍摄，展现其三维空间的魅力。 观众的体验变化： 这种转变也深刻影响了观众的艺术体验。过去，观众与艺术品的互动是一种“朝圣”式的体验，带有敬畏和虔诚。而现在，观众的体验更多地趋向于一种“欣赏”和“分析”。复制品模糊了原作与复制品之间的界限，使得观众可以更自由地、更分散地接触艺术，也更容易对艺术品进行比较和批判。 三、电影：艺术的“巅峰”与“迷宫” 本章将聚焦于电影这一最具代表性的复制技术，探讨其对艺术的独特影响。 电影作为复制技术的集大成者： 电影集摄影、绘画、戏剧、音乐等多种艺术形式于一体，并且本身就是一种高度复制性的技术。电影通过影像和声音的组合，能够创造出前所未有的感官体验，其叙事能力、情感冲击力以及对现实的模拟能力，在之前的艺术形式中是难以企及的。 “大众娱乐”与“艺术启迪”的双重属性： 电影既是大众娱乐的载体，也蕴含着深刻的艺术潜力。一方面，电影因其广泛的传播性和易于理解的叙事，成为一种重要的社会娱乐方式，它满足了大众对视觉刺激和故事的渴求。另一方面，优秀的电影作品也能够以其独特的艺术手法，引发观众的深刻思考，触及人类情感的深层，甚至提供对现实世界的批判性洞察。 “迷宫”效应： 然而，电影也可能带来一种“迷宫”效应。过度的娱乐化和商业化，可能导致电影作品丧失其深刻的艺术内涵，沦为纯粹的感官刺激。观众在海量电影作品中，也可能迷失方向，难以辨别真正的艺术价值。电影的复制性使得艺术的“制造”变得更为便捷，但也可能导致艺术的“廉价化”，艺术的门槛被降低，但真正具有穿透力的艺术却更加稀缺。 四、艺术的未来：在复制与创新中前行 最后，本章将展望艺术在机械复制时代的发展前景。 艺术的“去魅”与“再魅”： 尽管灵韵有所消逝，但艺术并未因此失去其魅力。反而，艺术可以通过新的媒介和形式，获得“再魅”的可能性。例如，数字艺术、互动艺术、沉浸式体验等，都在探索新的与观众连接的方式，试图在虚拟空间中重构新的“在场感”和“灵韵”。 艺术家角色的转变： 艺术家在这一时代的角色也发生了转变。他们不再仅仅是技艺精湛的工匠，更是思想的探索者、技术的驾驭者和意义的创造者。他们需要思考如何利用复制技术来拓展艺术的边界，如何赋予作品新的价值和意义。 观众的责任： 观众也承担着更重要的责任。在面对海量的复制品时，观众需要培养审辨性的眼光，去发现那些真正具有艺术价值的作品，去理解艺术的深刻内涵，而不是被表面的娱乐性所迷惑。 总而言之，机械复制技术对艺术作品的意义、价值和功能产生了深远的影响。它一方面将艺术从封闭的特权阶层解放出来，使其得以广泛传播，另一方面也引发了关于艺术本质、灵韵消逝以及艺术功能转变的深刻讨论。理解这一历史性的转变，对于我们当下理解和欣赏艺术，以及展望艺术的未来，都具有不可估量的意义。

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This book, "L'Oeuvre d'art à l'époque de sa reproductibilté technique," has been on my radar for some time, and I'm finding it to be a truly mind-expanding experience. The title itself is a powerful statement, pointing towards a profound analysis of art's transformation in the face of technological advancements. I'm impressed by the author's ability to articulate complex theoretical concepts with a clarity that, while demanding, is ultimately accessible. The exploration of how reproduction impacts the "aura" of a work of art – its unique presence and historical significance – is particularly captivating. I find myself questioning the very foundations of artistic value when faced with the ease with which masterpieces can be replicated. The book seems to be less about simply observing the phenomenon of reproduction and more about understanding its deep philosophical and cultural implications, prompting a re-evaluation of our aesthetic sensibilities and our relationship with creativity in the modern age.

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I've heard murmurs about this particular title, "L'Oeuvre d'art à l'époque de sa reproductibilté technique," in certain academic circles, and the anticipation has been building. The phrase itself suggests a profound examination of how technology has reshaped the art landscape. I imagine the author delves into the historical context, perhaps tracing the evolution from unique, hand-crafted pieces to the mass-produced copies we encounter daily. The implications for the "aura" of the artwork, as Walter Benjamin famously posited, are undoubtedly central to the discourse. I'm particularly curious about the author's perspective on the democratizing effect of technical reproduction – does it elevate art by making it accessible to a wider audience, or does it dilute its power and uniqueness? The book seems to promise a nuanced argument, avoiding simplistic pronouncements and instead opting for a thorough exploration of the multifaceted impact of reproduction. I'm also eager to learn about the specific examples the author might use to illustrate these concepts. Whether it's photography, film, or even digital art, the book appears to be charting the course of artistic evolution through a technological lens, and I'm ready to be guided through this complex and fascinating terrain.

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Frankly, I picked up this book, "L'Oeuvre d'art à l'époque de sa reproductibilté technique," with a certain degree of skepticism. The title, while intriguing, sounded rather academic and potentially dry. However, as I've begun to explore its contents, I've been pleasantly surprised by the richness and complexity of the ideas presented. It's far more than just a theoretical treatise; it feels like a conversation with a deeply insightful thinker who is dissecting a fundamental shift in our cultural landscape. The author appears to be meticulously unraveling the threads of how mass production and distribution have fundamentally altered our relationship with artistic creation. I'm particularly fascinated by the way the author seems to be navigating the delicate balance between the loss of traditional artistic value and the emergence of new forms of artistic expression and appreciation. The book has already prompted me to re-evaluate my own consumption of art, making me question the significance of the original versus the copy in a world saturated with images. It's a challenging but ultimately rewarding intellectual endeavor.

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The very title, "L'Oeuvre d'art à l'époque de sa reproductibilté technique," conjures an image of a intellectual journey through the annals of art history, particularly focusing on a pivotal shift. I anticipate a rigorous academic treatment of how mechanical and later, digital, reproduction has altered the very definition and experience of art. The author likely grapples with the loss of the "unique" or "original" artifact and explores how this impacts its perceived value, authenticity, and even its spiritual or ritualistic dimensions, concepts often associated with pre-reproduction art forms. I'm keen to understand the author's analysis of the social and cultural consequences of this widespread reproducibility. Does it lead to a superficial consumption of art, or does it foster a deeper, more pervasive cultural engagement with artistic ideas? The title suggests a thorough, perhaps even critical, examination of this phenomenon, moving beyond mere observation to a deeper understanding of its philosophical and aesthetic ramifications. I'm bracing myself for a text that will undoubtedly challenge my understanding of what art is and how we interact with it in the contemporary world.

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这本书的封面设计着实吸引了我，黑色的背景衬托着一行醒目的白字，那种极简的风格让我对其中蕴含的思想产生了浓厚的兴趣。虽然我还没有完全读完，但仅凭其标题《L'Oeuvre d'art à l'époque de sa reproductibilté technique》（在技术复制时代中的艺术作品）就足以让我展开无限的遐想。它似乎在探讨一个我们这个时代再熟悉不过的问题：当一件艺术品可以被轻易地、大规模地复制时，它original originality original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original original 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original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper original proper This title immediately struck me with its intellectual gravitas. The French phrasing, "L'Oe,uvre d'art à l'époque de sa reproductibilté technique," hints at a deep dive into the very essence of artistic creation and its metamorphosis in our modern, digitized world. It feels like a philosophical exploration, touching upon themes that are not only relevant but also deeply unsettling. I'm intrigued by the potential for this book to challenge my preconceived notions about what constitutes an "original" work of art, and how the accessibility of reproduction might fundamentally alter our engagement with and appreciation of creative output. The very notion of "aura," which I suspect plays a significant role here, seems to be under threat, and the author appears poised to dissect this phenomenon with a critical and analytical lens. The title itself is a statement, a declaration of a historical moment in art, and I'm eager to see how the author charts the course of this transformation, examining its causes, its manifestations, and its ultimate implications for both the artist and the viewer. It promises a challenging yet rewarding read, one that will likely spark many hours of contemplation long after the final page is turned.

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本雅明的共产主义思想激情肆意呀。。。

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机械复制时代的艺术“原真性”探讨；艺术从“膜拜”（cult）价值到展示价值的转变、时代剧变时人类感知机制变化的梳理；电影的技术革命、大众参与以及艺术“消遣”正当性归位；“为艺术而艺术”危险的最极端体现即政治审美化的法西斯倾向预警。

评分☆☆☆☆☆

黑暗骑士之奴隶崛起

评分☆☆☆☆☆

好難懂！

评分☆☆☆☆☆

好難懂！