首页> 外文学位 >文献详情
【24h】

Vanishing aesthetics: Mediality and literature after Merleau-Ponty, Virilio, and McLuhan (Maurice Merleau-Ponty, Paul Virilio, Marshall McLuhan).

机译:消失的美学:梅洛·庞蒂,维里里奥和麦克卢汉之后的病态和文学(莫里斯·梅洛·庞蒂,保罗·维里利奥,马歇尔·麦克卢汉)。

获取原文
获取原文并翻译 | 示例

摘要

The development of high technologies and media networks in the late Twentieth Century parallels the “de-aestheticization” of art objects. Walter Benjamin's influential argument for the “fading of aura” extends this critique to all objects, which are characterized by reproducibility and technical performance, rather than by the beautiful appearance and sense phenomena of traditional aesthetics. The technical object that results is one index of modernity: at stake in this end-state of aesthetic theory is a claim to read the immediacy of history. This dissertation adapts Hans Blumenberg's metaphorological approach to argue for a continuation of aesthetic theory in the re-evaluation of the technological object by theorists of mediation, focusing on the phenomenology of Maurice Merleau-Ponty, the aesthetics of disappearance of Paul Virilio, and the media analyses of Marshall McLuhan. These theorists problematize the appearance and performance of the technological object to demonstrate its immateriality and mediality. Media theory re-establishes the aesthetics of the technological object, leading to a renewed historicism. Media aesthetics discover the staging of history in technology. The second focus of this dissertation is the role of language in media theory, and, in particular, the role of metaphor as the explanation of mediation. Each media theorist develops a concept of metaphor, best exemplified in literary texts. This dissertation reads fiction by Ballard, Gibson, and Pynchon, poetry by Olson and Pound, and concept art by Flynt and Smithson, to situate literature as necessary to the theorization and use of technological systems. Media theory preserves a concept of the literary as a heuristic maintaining the open-ness of technical systems. Finally, in contrast to the simply teleology of a supposed “death” of literature under technical conditions, this dissertation re-configures the history and lines of influence between media technologies and textual strategies, using examples such as the MIT Media Lab, nanotechnology, and high tech accidents, to argue for complex theoretical borrowings and institutional exchanges.
机译:二十世纪后期,高科技和媒体网络的发展与艺术品的“去审美化”平行。沃尔特·本杰明(Walter Benjamin)关于“衰落光环”的有影响力的论点将这种批评扩展到了所有具有再现性和技术性能而不是传统美学的美丽外观和感官现象的对象。产生的技术对象是现代性的一个指标:在美学理论的这种最终状态中,危在旦夕的是宣读历史的直接性。本论文采用汉斯·布鲁门伯格的隐喻方法,主张在调解理论家对技术客体的重新评估中,美学理论的延续,着眼于莫里斯·梅洛-庞蒂的现象学,保罗·维里里奥的消失美学和媒体马歇尔·麦克卢汉的分析。这些理论家质疑该技术对象的外观和性能,以证明其非实质性和中介性。媒体理论重新确立了技术对象的美学,从而导致了新的历史主义。媒体美学发现了技术历史的发展。论文的第二个重点是语言在媒体理论中的作用,尤其是隐喻作为中介作用的解释。每个媒体理论家都提出了隐喻的概念,这在文学文本中得到了最好的体现。这篇论文读了巴拉德,吉布森和皮钦的小说,奥尔森和庞德的诗歌,以及弗林特和史密森的概念艺术,以便为技术系统的理论化和使用提供必要的文献资料。媒体理论保留了文学的概念,将其作为一种启发式技术,保持了技术体系的开放性。最后,与技术条件下假定的文学“死亡”的简单目的论相反,本论文使用诸如MIT媒体实验室,纳米技术和计算机科学等实例重新配置了媒体技术和文本策略之间的历史和影响线。高科技事故,以主张复杂的理论借贷和机构交流。

著录项

  • 作者

    Baldwin, Charles Alexander.;

  • 作者单位

    New York University.;

  • 授予单位 New York University.;
  • 学科 Literature American.; Philosophy.; History of Science.
  • 学位 Ph.D.
  • 年度 1999
  • 页码 465 p.
  • 总页数 465
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 I712;B0;N09;
  • 关键词

相似文献

  • 外文文献
  • 中文文献
获取原文

联系方式:18141920177 (微信同号)

客服邮箱:kefu@zhangqiaokeyan.com

京公网安备:11010802029741号 ICP备案号:京ICP备15016152号-6 六维联合信息科技 (北京) 有限公司©版权所有
  • 客服微信

  • 服务号