| 对启蒙现代性的批判——以电影《海上钢琴师》为例 |
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| 引用本文： | 王晓玲. 对启蒙现代性的批判——以电影《海上钢琴师》为例[J]. 云南农业大学学报(自然科学版), 2010, 4(4): 98-102 |
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| 作者姓名： | 王晓玲 |
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| 作者单位： | 红河学院人文学院,云南蒙自661100 |
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| 摘 要： | 自20世纪60年代以来,现代性问题几乎成为很多研究领域中的核心概念和热点问题。现代性是一个内涵极其复杂的概念,在它的内部,同时并存着启蒙现代性与审美现代性这两个既相互联系又呈背反关系的层面。在电影《海上钢琴师》中,呈现出了现代性的这两种内在张力的紧张关系,即审美现代性对启蒙现代性的反思与批判。
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| 关 键 词： | 现代性 启蒙现代性 审美现代性 海上钢琴师 |
The Criticism of Enlightenment Modernity:Taking Movie the Pianist on the Sea as an Example |
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| WANG Xiao-ling. The Criticism of Enlightenment Modernity:Taking Movie the Pianist on the Sea as an Example[J]. Journal of Yunnan Agricultural University, 2010, 4(4): 98-102 |
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| Authors: | WANG Xiao-ling |
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| Affiliation: | WANG Xiao-ling ( Humanity academy, Honghe University, Mengzi 661100, China) |
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| Abstract: | Since the 1960s, modern problems has almost become the core concepts and hot issues in many research fields. Modernity is a complex concept, in its interior, coexisting with enlightenment modernity and aesthetic modernity of these two interrelated as well as anti-back relationships. In the movie the pianist on the sea, it shows the two inner tensions of modernity, namely, aesthetic modernity |
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| Keywords: | modernity Enlightenment modernity aesthetic modernity the pianist on the sea |
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