主讲人：Prof. Raoul Eshelman

时间：9月28日 15:50-17:20

地点：上海交通大学外国语学院311室

联系人：薛原

主讲人简介：Raoul Eshelman是慕尼黑大学比较文学和日耳曼语言文学系教授，是比较文学荣誉项目负责人，任多个国际文学期刊的编委。 他独创的“表演主义”理论在欧洲学界引起了很大的反响，被称为“最杰出的后现代以后文艺理论实践”。

题目及摘要：

表演主义——后现代主义以后的文化发展

后现代主义通常被认为是一个强调讽刺、互文、话语决定主体，模仿和怀疑等一系列元素的艺术与批评实践。后现代主义反对有关宗教、科学进步，政治乌托邦主义的“宏大叙事”。于20世纪60年代在西方国家萌发的后现代主义文艺实践曾主导了世界文化走向，并开始在90年代末明显褪色。Eshelman教授发现，越来越多的文艺作品放弃了讽刺的审美策略，塑造了自主行事主体，重新关注整体，终结和超越这些概念，并用演绎的审美手法迫使读者或是观众去相信一个理念。Eshelman教授将这种完全有别于后现代的文艺形式称为“表演主义”。Eshelman教授将通过文学，电影，建筑和艺术中的典型例子介绍何为“表演主义”。

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

Postmodernism is usually thought of a 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 postmodernism.

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