文化有根 創意是伴 Bridging Creativity
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在反諷性接受中,讀者/觀眾聚焦於角色可笑的特征,並因此感到快樂乃至狂喜。由此可見,即使引入“反模仿論的詩學”,文本的作用也會顯現於作者—所指物—讀者/觀眾的三元關係中,因此,讀者的體驗永遠是不可或缺的環節。[76]無論創作理念如何變幻,詩歌都依賴意象制作術,訴諸讀者/觀眾的直覺,試圖激發個體的體驗,實現其情感價值(emotional value)。[77]在這個過程中,“真實存在的和詩中提供的時空等等有限原因”會被超越,“感情的普遍化得到充分撫育”。(《舞論註》)[78]從這個角度看,我們可以得出一個更具有普適性的圖式:詩歌—模仿—體驗—接受。 …
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(二)否定性接受中的身體性體驗
從接受美學的角度看,某些藝術品會激發否定的立場。例如,印度古典詩學中所說的厭惡味就是如此:“厭惡味以常情厭為特征。它通過看到不愉快或不可愛的東西、耳聞目睹或談論討厭的東西等等情由產生。”(《舞論》)[66]它“以厭為唯一基礎”,“由蛆蟲、腐臭和嘔吐引起反感”,“由鮮血、內臟、脂肪和肉等等引起激動”,“由棄世而對臀部和胸脯等等產生純潔的厭棄”。[67]再如,某些藝術品中蘊含著反諷模式(ironic…
ContinuePosted on January 16, 2020 at 8:04pm 0 Comments 3 Promotions
在模仿開始之際,互動的關係鏈即已誕生:詩人—被模仿者(如悲傷的英雄)—觀眾/讀者。通過被模仿者的意象,個體被卷入共同的進程,移情作用出現了:接受者下意識地模仿角色的行動,將自己置於後者的世界中,親自體驗其苦難或歡樂。這個過程的關鍵環節是身體性想像:我想像自己變成了角色,如同親歷者一樣體驗後者的生存。當俄狄浦斯王將針刺向自己的眼睛時,疼痛也擊中和折磨著我。此刻,魔法發生了:兩個身體的位置似乎已經重合,個體仿佛具有共同的處境—感觸。事實上,在事件發生的瞬間,觀眾(讀者)並不在場,只能通過身體性想像彌補自己的缺席。這是缺席者的在場想像:只有當我將自己還原到身體的網絡中,只有當我參與實存者的遊戲,我才能閱讀作品。閱讀,就是站在他人(作者和角色)的立場上體驗世界。它所產生的體驗“具有普遍性,不是有限的,而是廣大的”。…
Continue愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.
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