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文艺理论研究

文艺理论研究 ›› 2020, Vol. 40 ›› Issue (6): 85-95.

• 本雅明研究专题 • 上一篇    下一篇

经验在信息时代的贫乏及其出路——以本雅明思想为线索的一个考察

孙斌, 张艳芬   

  1. 复旦大学哲学学院
  • 出版日期:2020-11-25 发布日期:2020-12-16
  • 作者简介:孙斌，哲学博士，复旦大学哲学学院教授，主要从事批判理论及当代美学研究。张艳芬，哲学博士，上海大学哲学系副教授，主要从事文化理论及价值哲学研究.
  • 基金资助:
    本文为教育部人文社会科学研究规划基金项目“普罗米修斯诗性形象的艺术哲学研究”［项目编号： 18YJA720011］

The Poverty of Experience and Its Wayout in the Information Age: An Exammination from the Perspective of Walter Benjamin

Sun Bin, Zhang Yanfen   

  1. School of Philosophy, Fudan University
  • Online:2020-11-25 Published:2020-12-16
  • About author:Sun Bin, Ph. D., is a professor at the School of Philosophy, Fudan Universily. His research interest includes contemporary aesthetics, especially critical theory. Zhang Yanfen, Ph. D., is an associate professor at the Department of Philosophy, Shanghai University. Her research interests include cultural theory and value philosophy.
  • Supported by:
    Humanity and Social Sciences Foundation of Ministry of Education (18YJA720011)

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摘要： 经验产生于记忆，可是，如果记忆的作用是精确再现过去以便为形成知识作出准备，那么能迅速提供信息的现代技术就使这样的记忆失去了存在的意义。于是，记忆同精确再现的功能拆离出来，并以故事的形式使经验的交流和相传得以成为可能。可是，讲故事的艺术在信息这种新的传播形式的挑战下正在走向它的尽头。信息运作的实质在于即时性。这甚至导致了印象和观念之间区分的取消，因为即时信息使一切知觉都成为了强烈而生动的印象。然而，恰恰是印象的过于强烈和生动使得它突破了意识的防护机制，从而作为震惊作用于无意识的层面。震惊印象成为有力而持久的非意愿记忆的组成部分，它打破了信息的即时性以及建基于其上的对事物的透彻说明。不过，试图将私密而迷人的经验加以概念化的非意愿记忆是一种本领，它归属于讲故事的艺术。在讲故事的艺术走向尽头之后，必须考虑震惊印象的另外的形式。这就是电影。电影无法中止经验的贬值或贫乏，但它使这种贫乏变得复杂了。

关键词: 信息, 记忆, 故事, 经验, 贫乏

Abstract: Experience generates from memory. However, if memory only serves as an accurate recollection of the past, it is destined to be replaced by modern technology, which can provide information instantly. Therefore, memory is presented in the form of story, which makes it possible to pass on experience across generations. But the art of storytelling is reaching its end due to the challenge of information, a new form of communication. The essence of information is instant verifiability. This even cancels the distinction between impression and idea since instant information renders all perceptions forceful and lively impressions. Yet, it is its force and liveliness that enable impression to break through the protection mechanism of consciousness and act on the unconscious level as a shock effect. As a result, the shock impression becomes integral to the powerful and enduring mémoire involontaire. Nevertheless, mémoire involontaire, as an attempt to conceptualize an intimate and intriguing experience, belongs to the art of storytelling. As this art is drawing to its end, we should consider another form of the shock impression — film. Although films cannot prevent the experience from falling into poverty, they complicate the process.

Key words: information, memory, story, experience, poverty