生活乐趣的建筑和经验

IF 0.4 0 HUMANITIES, MULTIDISCIPLINARY Emotions-History Culture Society Pub Date : 2022-06-22 DOI:10.1163/2208522x-02010150
Christian Parreno
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引用次数: 0

摘要

作为对19世纪上半叶经济危机和社会不稳定所产生的悲惨主义的语义反应,生活的乐趣在法国出现。它表示享受和从灾难事件中恢复的能力。在朱尔斯·米舍莱的《昆虫》(1857)中,生活的乐趣构成了运动和建筑创作,集中体现在蜂巢——“昆虫世界的真正雅典”。然而,在Émile Zola的作品《生活的乐趣》(1883)中,这种情绪变得模棱两可,对他来说,这种态度不仅需要面对现代性的矛盾,还需要通过建筑成功地实现资本主义对自然的操纵。为了探索建筑环境是如何表现情感体验的,本文遵循了生活乐趣的轨迹,从它的外观作为一种习惯的融合到其他概念的变化,包括生命和欢爽。
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Architectures and Experiences of Joie de vivre
As a semantic reaction against the miserabilism derived from the economic crisis and social instability of the first half of the nineteenth century, joie de vivre surfaced in France. It denotes enjoyment and the ability to recover from calamitous events. In The Insect (1857) by Jules Michelet, joie de vivre constitutes movement and architectural creation, epitomised in the beehive – ‘the veritable Athens of the Insect World’. Yet the sentiment turns ambiguous in La Joie de vivre (1883) by Émile Zola, for whom it is an attitude required not only to face the contradictions of modernity but also to succeed in the capitalist manipulation of nature through architecture. To explore how the built environment manifests emotional experience, this essay follows the trajectory of joie de vivre, from its appearance as an idiomatic amalgamation to other conceptual variations, including élan vital and jouissance.
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Emotions-History Culture Society
Emotions-History Culture Society HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.70
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3
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