再谈“灵韵”消逝的问题——《机械复制时代的艺术作品》读后感

Revisiting the Fading of “Aura” —Reflections on The Work of Art in the Age of Mechanical Reproduction

摘要: 瓦尔特·本雅明是法兰克福学派的成员之一，其思想体系中有关艺术和文学的部分十分值得我们关注。他在著作《机械复制时代的艺术作品》中提出“灵韵消逝”理论，对机械复制时代的艺术作品蕴藉式微的现象进行批判。人类的科技创新不会停下脚步，这种创新在历史进程中断断续续地被接受，虽要相隔一段时间才有创新，但却一次比一次强烈。我们完全有理由对“灵韵”消逝的问题进行再审视。有关“灵韵”的解释从来都不是唯一确定的，这是本篇论文得以展开的立足点与基础。技术的不断发展已将我们带入了“数字信息化”时代，“灵韵”或许没有消逝只是换了一种形态继续存在于艺术作品中。本文梳理了历史上出现的有关“灵韵”的概念，并对“灵韵”消逝进行重新理解，可为我们理解数字信息时代的“灵韵”提供一种新的途径。

Abstract: Walter Benjamin, a member of the Frankfurt School, offers insights into art and literature that deserve close attention. In his work The Work of Art in the Age of Mechanical Reproduction, he proposes the theory of the “fading of aura” critiquing the decline of profound meaning in artworks during the era of mechanical reproduction. Technological innovation in humanity is unstoppable, and such innovation has been intermittently accepted throughout history. Though breakthroughs may occur at intervals, each wave grows more intense than the last. Thus, it is entirely reasonable to revisit the issue of the fading of “aura”. The interpretation of “aura” has never been fixed or singular, which serves as the foundation for this paper. The continuous advancement of technology has ushered us into the “digital information age”, where “aura” may not have vanished but instead transformed, continuing to exist within artworks. This paper reviews the historical concepts of “aura” and offers a reinterpretation of its fading, providing a new perspective for understanding “aura” in the digital information age.