慕尼黑大學Raoul Eshelman教授講座通知

慕尼黑大學Raoul Eshelman教授講座通知


主講人：Prof. Raoul Eshelman

時間：9月28日 15:50-17:20

地點：外院311室

聯系人🤰🏼：薛原


主講人簡介：Raoul Eshelman是慕尼黑大學比較文學和日耳曼語言文學系教授，是比較文學榮譽項目負責人💇🏻，任多個國際文學期刊的編委。 他獨創的“表演主義”理論在歐洲學界引起了很大的反響，被稱為“最傑出的後現代以後文藝理論實踐”🙋🏽‍♀️。


題目及摘要：

表演主義——後現代主義以後的文化發展

後現代主義通常被認為是一個強調諷刺↩️、互文、話語決定主體🫄🏿，模仿和懷疑等一系列元素的藝術與批評實踐。後現代主義反對有關宗教🕞、科學進步🙍‍♀️，政治烏托邦主義的“宏大敘事”。於20世紀60年代在西方國家萌發的後現代主義文藝實踐曾主導了世界文化走向，並開始在90年代末明顯褪色💕。Eshelman教授發現，越來越多的文藝作品放棄了諷刺的審美策略，塑造了自主行事主體⚖️，重新關註整體🤙🏼，終結和超越這些概念🦂，並用演繹的審美手法迫使讀者或是觀眾去相信一個理念。Eshelman教授將這種完全有別於後現代的文藝形式稱為“表演主義”。Eshelman教授將通過文學🚶🏻，電影🧽，建築和藝術中的典型例子介紹何為”表演主義”。

 

Performatism, or the Development of Culture after the End of Postmodernism

Postmodernism is usually thought of aa set of artistic and critical practices that stress irony, metatextual play, discursively determined subjectivity, simulation, and skepticism towards “grand narratives” regarding religion, scientific progress, and political utopianism. These practices, which arose in the West in the 1960s and dominated culture there for many years, began to fade noticeably in the late 1990s. In their place we increasingly find aesthetic strategies that shut out irony, portray autonomously acting heroes and heroines, focus on unity, closure, and transcendence, and performatively force us to believe using aesthetic means. In a certain sense, works in the new epoch make us believe things we otherwise would not (whereas postmodernism robs us of all illusions about things that we would normally believe in firmly).  All in all, this means that a certain basic optimism is returning to culture. This optimism enables the renewal of positive ethical agency and suggests
  the limited possibility of transcending the state of things as they are. Using examples taken from literature, film, architecture and art, I will give a brief overview of this new epoch, which I call “performatism,” and I will also touch briefly on competing models of postpostmodernism.