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“PLEASE LEAVE A MESSAGE”: THE MEDIA ECOLOGY OF RUBEN ÖSTLUND’S PLAY, FORCE MAJEURE, AND THE SQUARE “请留言”:鲁本奥戏剧的媒体生态、不可抗力与广场
Q3 Arts and Humanities Pub Date : 2018-11-06 DOI: 10.7146/NJA.V27I55-56.110729
Jack Lynch
This article examines three films by the Swedish director Ruben Östlund: Play (2011), Force Majeure (2014), and The Square (2017). It describes the role of mobile phones in the films, both on the level of content and in terms of aesthetics. Within the films, the failure of the phone to connect the protagonists to significant others is seen as symbolic of an alienation that leads them to points of crisis. Here, the mobile phone works as a device in two ways. First, as a significant communication technology, and second, as a plot contrivance to advance the dramatic conflict. Critically, the mobile phone opens an uncertain space where subjectivity becomes increasingly insecure, precisely as it becomes fundamentally intertwined with it. There is a cinematic tradition of mobilizing this ambiguity to which this process can be connected. Further, the form of these works is considered in relation to the notion of traumatic repetition, and how this expands into the wider contemporary image-culture and the key influence of YouTube within this. Here, the films are considered in relation to the changing dynamic of the public sphere in the light of the mobile recording capabilities, that have come to shape an emergent cinematic aesthetic evident in these films.
本文考察了瑞典导演鲁本·奥斯特伦德的三部电影:《戏剧》(2011年)、《不可抗力》(2014年)和《广场》(2017年)。它描述了手机在电影中的作用,无论是在内容层面还是在美学方面。在电影中,手机无法将主角与重要的其他人联系起来,被视为一种异化的象征,这种异化导致他们陷入危机。在这里,手机作为一种设备有两种工作方式。首先,作为一种重要的通信技术,其次,作为推进戏剧性冲突的情节设计。至关重要的是,手机打开了一个不确定的空间,主观性变得越来越不安全,正是因为它从根本上与之交织在一起。调动这种模糊性是电影的传统,这一过程可以与之联系起来。此外,这些作品的形式被认为与创伤重复的概念有关,以及它如何扩展到更广泛的当代图像文化中,以及YouTube在其中的关键影响。在这里,根据移动记录功能,这些电影被视为与公共领域不断变化的动态有关,这些功能已经形成了这些电影中明显的新兴电影美学。
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引用次数: 0
CONFLICTS OF GESTURES, CONFLICTS OF IMAGES 手势冲突、图像冲突
Q3 Arts and Humanities Pub Date : 2018-11-06 DOI: 10.7146/nja.v27i55-56.110720
Georges Didi-Huberman
The article presents some notes for an anthropology of the gestures of uprising [soulèvement]. It argues that, just as sounds (screams, words, slogans) always come out of the mouth of the demonstra- tors, images of all kinds are also brandished at the end of their arms. Based on this the article raises the question of the very notion of a desire for uprising.
这篇文章为起义姿态的人类学提供了一些注释。它认为,就像声音(尖叫声、话语、口号)总是从示威者的嘴里传出来一样,各种各样的图像也在他们的手臂末端挥舞。基于此,文章提出了起义欲望的概念本身的问题。
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引用次数: 1
FAMILY FRAMING AND THE COMEDY OF CONVENTIONS IN RUBEN ÖSTLUND’S FORCE MAJEURE 鲁本Östlund《不可抗力》中的家庭框架和惯例喜剧
Q3 Arts and Humanities Pub Date : 2018-11-06 DOI: 10.7146/nja.v27i55-56.110722
Roger Edholm
Ruben Östlund’s Force Majeure (2014) centres around a Swedish family vacationing at a ski resort in the Alps. The film depicts how the family breaks down after the father leaves his wife and children behind while fleeing from a possible avalanche. This breakdown is reflected in the film’s use of framing. In the opening scenes, the viewer is presented with a series of family portraits. After the averted disaster, the family is no longer shown as a coherent whole. Framing in Force Majeure is thus as a technical as well as a thematic matter related to the film’s exploration of the nuclear family. Framing is also connected to the comedic characterization of the family that the film depicts. Rather than identifying with them, the viewer is invited to critically reflect upon their self-image and their actions. The focus of this essay is therefore the concept of framing in connection with the film’s theme of family and certain comedic conventions. Force Majeure is symmetrically structured and the narrative progression adheres to a traditional plot-pattern moving from the disruption of order to the restoration of order. Yet, the film also flaunts its structure and makes the viewer aware of the clichés of conventional storytelling as these clichés and conventions are reproduced in the lives of the main characters.
Ruben Östlund的《不可抗力》(2014)围绕一个在阿尔卑斯山滑雪胜地度假的瑞典家庭展开。这部电影描述了父亲在逃离可能发生的雪崩时丢下妻子和孩子后,这个家庭是如何破裂的。这种分解反映在影片对框架的使用上。在片头,观众会看到一组全家福。在避免了灾难之后,这个家庭不再被视为一个连贯的整体。因此,《不可抗力》中的取景既是一个技术问题,也是一个与电影对核心家庭的探索有关的主题问题。框架也与电影所描绘的家庭的喜剧特征有关。而不是认同他们,观众被邀请批判性地反思他们的自我形象和他们的行为。因此,本文的重点是框架的概念,与电影的家庭主题和某些喜剧惯例有关。《不可抗力》的结构是对称的,叙事进程遵循传统的情节模式,从秩序的破坏到秩序的恢复。然而,这部电影也炫耀了它的结构,让观众意识到传统叙事的陈词滥调,因为这些陈词滥调和惯例在主角的生活中得到了再现。
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引用次数: 1
From Hume's "Delicacy" to Contemporary Art 从休谟的“精致”到当代艺术
Q3 Arts and Humanities Pub Date : 2018-01-12 DOI: 10.7146/NJA.V26I54.103079
Anne Elisabeth Sejten
David Hume’s essay “Of the Standard of Taste” (1757)—which represents a major step towards clarifying eighteenth-century philosophy’s dawning aesthetics in terms of taste—also relates closely to literal, physical taste. From the analogy between gustatory and critical taste, Hume, apt at judging works of art, puts together a contradictory argument of subjectivism (taste is individual and varies from person to person) and the normativity of common sense (the test of time shows that some works of art are better than others). However, a careful reading of the text unveils a way of appealing to art criticism as a vital component in edifying a philosophically more solid standard of taste. Hume’s emphatic references to a requisite “delicacy” complicate the picture, for it is not clear what this delicacy is, but a close inspection of how Hume frames the criterion of delicacy by means of “practice” and the absence of “prejudice” might perhaps challenge us to address issues of contemporary art.
大卫·休谟的文章《品味的标准》(1757年)代表着从品味的角度澄清18世纪哲学萌芽美学的重要一步,它也与字面上的、身体上的品味密切相关。从味觉和批判性味觉的类比来看,善于评判艺术作品的休谟提出了主观主义(味觉是个体的,因人而异)和常识的规范性(时间的考验表明,有些艺术作品比其他艺术作品更好)的矛盾论点。然而,仔细阅读文本会发现一种吸引艺术批评的方式,这是培养哲学上更坚实的品味标准的重要组成部分。休谟对必要的“精致”的强调使画面复杂化,因为尚不清楚这种精致是什么,但仔细观察休谟如何通过“实践”和没有“偏见”来界定精致的标准,也许会挑战我们解决当代艺术问题。
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引用次数: 0
TASTE AND OTHER SENSES: RECONSIDERING THE FOUNDATIONS OF AESTHETICS 味觉与其他感官:对美学基础的再思考
Q3 Arts and Humanities Pub Date : 2018-01-12 DOI: 10.7146/NJA.V26I54.103078
C. Korsmeyer
The sense of taste has served as a governing metaphor for aesthetic discernment for several centuries, and recent philosophical perspectives on this history have invited literal, gustatory taste into aesthetic relevance. This paper summarizes the disposition of taste in aesthetics by means of three stories, the most recent of which considers food in terms of aesthetics and its employment in works of art. I conclude with some reflections on the odd position that taste has achieved in the postmodern art world, and I make a case for the often unnoticed role that bodily senses have in the apprehension of art.
几个世纪以来,味觉一直是审美洞察力的主要隐喻,最近对这段历史的哲学观点将字面上的味觉引入了审美相关性。本文通过三个故事总结了味觉在美学中的倾向,其中最新的一个故事从美学的角度考虑了食物及其在艺术作品中的应用。最后,我对味觉在后现代艺术世界中所占据的奇怪地位进行了一些反思,并为身体感官在理解艺术中经常被忽视的作用提出了理由。
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引用次数: 5
REVIEW: RICHARD SHUSTERMAN, THE ADVENTURES OF THE MAN IN GOLD. PATHS BETWEEN ART AND LIFE 书评:理查德·舒斯特曼,《黄金人的冒险》。艺术与生活之间的道路
Q3 Arts and Humanities Pub Date : 2018-01-12 DOI: 10.7146/nja.v26i54.103084
Stefán Snævarr
When Richard Shusterman burst on the academic scene some decades ago he quickly became the golden boy of aesthetics. Now in his late sixties he is hardly a boy anymore, but possibly a golden oldie. Nevertheless, he is still prone to boyish pranks as can be seen in parts of his new book, The Adventures of the Man in Gold. Paths between Art and Life.
几十年前,当理查德·舒斯特曼(Richard Shusterman)突然出现在学术舞台上时,他迅速成为美学领域的金童。如今,年近六旬的他已经不再是一个男孩了,但可能是一个黄金老人。尽管如此,从他的新书《金衣人历险记》的部分内容中可以看出,他仍然容易犯一些孩子气的恶作剧。艺术与生活之间的道路。
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引用次数: 0
THE AESTHETICISATION OF TASTE, A CONSEQUENCE OF THE “AESTHETICISATION” OF BEAUTY 品味的审美化,是美的“审美化”的结果
Q3 Arts and Humanities Pub Date : 2018-01-12 DOI: 10.7146/nja.v26i54.103082
C. Talon-Hugon
At the beginning of modern times, taste was seen as a sort of sense of sociability, indistinctly moral and aesthetic. Why, during the eighteenth century did it become exclusively the sense of beauty? To understand this change, this article maintains that we must consider the great revolution, which affected the idea of beauty between the seventeenth and the eighteenth centuries, that is to say the end of the metaphysical conception of beauty. We must analyse the phenomenon of beauty aestheticisation produced by the modern subjectivist, psychological and empirical perspective. The aestheticisation of taste is one of the consequences of the underground ontological revolution, which led to a transformation of the transcendental essences in human values. When beauty is nothing more than beauty, and does not exist without a sensitive experience, one needs a sensitive faculty which enables one to grasp beauty, or more precisely, which gives birth to beauty, seeing beauty as no longer having a proper ontological consistency.
在近代初期,品味被视为一种社交意识,模糊地带有道德和审美色彩。为什么在18世纪,它变成了一种专属于美的感觉?为了理解这一变化,本文认为,我们必须考虑十七世纪至十八世纪之间影响美的观念的大革命,也就是说,形而上学的美的概念的终结。我们必须从现代主观主义、心理学和经验主义的角度来分析美的审美化现象。品味的审美化是地下本体论革命的结果之一,它导致了人类价值的先验本质的转变。当美只不过是美,没有敏感的经验就不存在时,一个人需要一种敏感的能力,使他能够把握美,或者更准确地说,产生美,把美看作不再具有适当的本体论一致性。
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引用次数: 3
The Origins of the Transcendental Justification of Taste: Kant's Several Views on the Status of Beauty 审美的先验正当性的起源——康德关于美的地位的几点看法
Q3 Arts and Humanities Pub Date : 2018-01-12 DOI: 10.7146/nja.v26i54.103081
Esther Oluffa Pedersen
The article follows Kant’s different views on aesthetics ranging from the pre-critical period to the Critique of the Power of Judgement. It argues that John Zammito’s psychological explanation of why Kant in the third Critique developed an argument for the transcendental justification of judgements of taste is unconvincing. As an alternative, the article shows how Kant in his published pre-critical discussions of aesthetics was relying upon empiricist sources while he in private comments turned to consider the culture critique of Rousseau. Kant’s preoccupation with questions of culture critique, it is argued, was an important reason to enlarge the doctrines of transcendental philosophy with a third Critique containing a transcendental aesthetics of beauty. Additionally, it is pointed out an interesting similarity throughout the development of Kant’s philosophy. In 1765 and in the third Critique Kant was concerned to keep philosophy and judgements of taste apart from science
本文考察了康德从前批判时期到《判断力批判》的不同美学观点。它认为约翰·扎米托对康德为什么在《第三批判》中提出了味觉判断的先验论证的心理学解释是不令人信服的。作为一种选择,这篇文章展示了康德在他发表的前批判美学讨论中是如何依赖于经验主义的来源的,而他在私人评论中转向考虑卢梭的文化批判。有人认为,康德对文化批判问题的关注,是他将先验哲学理论扩展为包含先验美学的《第三批判》的重要原因。此外,本文还指出了康德哲学发展过程中一个有趣的相似性。在1765年和第三批判中,康德关心的是将哲学和品味判断与科学分开
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引用次数: 0
AESTHETICS AND JUDGMENT: “WHY KANT GOT IT RIGHT” 美学与判断:“为什么康德是对的”
Q3 Arts and Humanities Pub Date : 2018-01-12 DOI: 10.7146/nja.v26i54.103083
Morten Kyndrup
The article argues that although all scholars within aesthetics basically know and recognize it, there is a tendency in many of its traditions to forget or to underestimate the importance of the aesthetic judgment. With Thierry de Duve’s short paper “Why Kant got it Right” as its point of departure, this importance is discussed. Not only its importance in aesthetic relations and to aesthetics as a discipline, but also in a broader sense, through the contribution to the overall social cohesion of society, offered by aesthetic judgments. All judgments are pronounced as-if a shared scale of aesthetic preferences did exist (which it does not). Judgments are addressed to communities, to the notion of a joint “we”, and thus they do participate in the creation and the maintenance of the social as such. Also professional aesthetic critique, including art critique, should be aware of that, since even historically achieved differentiations and divisions of labour may be lost again if not being developed and kept up to date.
文章认为,尽管所有的美学学者基本上都知道并认识到这一点,但在许多美学传统中,存在着忘记或低估审美重要性的倾向。本文以蒂埃里•德•迪夫的短文《为什么康德是对的》为出发点,讨论了这一重要性。它不仅在美学关系和美学作为一门学科中的重要性,而且在更广泛的意义上,通过审美判断对社会整体社会凝聚力的贡献。所有的判断都被宣布为——仿佛一个共同的审美偏好的尺度确实存在(事实并非如此)。判断是针对社区的,针对共同的“我们”的概念,因此它们确实参与了社会的创造和维护。此外,专业的美学批评,包括艺术批评,应该意识到这一点,因为即使是历史上取得的差异和分工,如果不发展和保持最新,也可能再次失去。
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引用次数: 3
DISTINCTION AND DIFFERENCE: REVISITING THE QUESTION OF TASTE 区别与差异:品味问题再探
Q3 Arts and Humanities Pub Date : 2018-01-12 DOI: 10.7146/NJA.V26I54.103077
J. Rebentisch
The essay discusses the logic of distinction under the sign of the contemporary culture of difference and proposes a discussion of the relationship between taste and contemporary art. The recent trend toward greater individualization might have rendered social codes more permeable. But this state of affairs is neither the opposite of the standardization nor does it imply that the social logic of distinction has been suspended. It has merely undergone further differentiation, but without abolishing the signifiers of status. On the one hand art as a commodity partakes in the respective developments, on the other, certain strands in contemporary art can also be read as opposing the subject of aesthetic experience to the subject of consumerist taste.
本文探讨了当代差异文化符号下的区别逻辑,并提出了品味与当代艺术关系的探讨。最近更大的个体化趋势可能使社会规范更具渗透性。但这种状态既不是标准化的对立面,也不意味着区别的社会逻辑已经被搁置。它只是经历了进一步的分化,但并没有废除地位的象征。一方面,艺术作为一种商品参与了各自的发展,另一方面,当代艺术的某些分支也可以被解读为审美经验的主体与消费主义品味的主体的对立。
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引用次数: 1
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Nordic Journal of Aesthetics
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