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1935年版的《巴黎,19世纪的首都》尽管体现了瓦尔特·本雅明在方法论上的唯物主义转向,但是依然暗含着祈求弥赛亚救赎的悲悼性。悲悼性隐喻于辩证意象内部“过去”与“当下”的张力之中,当代人通过与受压迫者的对话,揭露资本主义生产力神话是建立在历代被统治阶级受难牺牲的基础之上。受压迫者记忆的重视,将瓦解生产力神话所支撑的资本主义政治的合法性,为当下的革命实践赋予正当性。波德莱尔被视为一个现代性的爆破者,其诗歌中的堕落意象是一种意在颠覆现代性的革命姿态。总而言之,本雅明是激进的现代性爆破者,他的目标是瓦解支撑法西斯统治的历史哲学基础,直接摧毁现代性,而不仅仅是一个商品梦幻与都市文明的批评者。
The 1935 edition of Paris, the capital of the nineteenth century, while embodying the methodological shift in materialism by Walter Benjamin, still implies the mournfulness of praying for the Messiah redemption. In the tension between the “past” and the “present” in dialectical images, the contemporary people expose the myth of capitalist productivity through the dialogue with the oppressed. It is based on the sacrifice of the ruling class by the past on. The memory of the oppressor will disrupt the legitimacy of the capitalist politics supported by the myth of the productive forces and justify the present revolutionary practice. Baudelaire is regarded as a modern demolitionist whose depraved image in his poetry is a revolutionary gesture intended to subvert modernity. In sum, Benjamin is a radical modernist who explores the historical and philosophical foundation that underpins fascist rule and directly destroys modernity, not just critics of a commodity dream and urban civilization.