dc.contributor.advisor | 陳文團 | zh_TW |
dc.contributor.author (Authors) | 黃慧敏 | zh_TW |
dc.contributor.author (Authors) | Huang, Hui-min | en_US |
dc.creator (作者) | 黃慧敏 | zh_TW |
dc.creator (作者) | Huang, Hui-min | en_US |
dc.date (日期) | 2002 | en_US |
dc.date.accessioned | 18-Sep-2009 16:49:15 (UTC+8) | - |
dc.date.available | 18-Sep-2009 16:49:15 (UTC+8) | - |
dc.date.issued (上傳時間) | 18-Sep-2009 16:49:15 (UTC+8) | - |
dc.identifier (Other Identifiers) | G0088154006 | en_US |
dc.identifier.uri (URI) | https://nccur.lib.nccu.edu.tw/handle/140.119/35990 | - |
dc.description (描述) | 碩士 | zh_TW |
dc.description (描述) | 國立政治大學 | zh_TW |
dc.description (描述) | 哲學研究所 | zh_TW |
dc.description (描述) | 88154006 | zh_TW |
dc.description (描述) | 91 | zh_TW |
dc.description.abstract (摘要) | 關於本論文的章節安排。在論証次序上,由於上面的論証已經提示蒙太奇對班雅明的重要意義,所以下一章開始,首先對於電影與感官模式加以申述,也就是電影蒙太奇與變化了的感官模式中有所對應的部份——震驚體驗兩者間如何能聯繫起來。而蒙太奇與震驚體驗之間的關聯性又在於不連續性。而經由這一個特性,可以作為中介,讓我們把班雅明的時代與波特萊爾的時代聯繫起來看。所以波特萊爾詩作裡、以及其創造性過程中的經驗二重性:Erfahrung與Erlebnis之間的糾葛也一一浮現。這樣就完整呈現出班雅明是如何論証波特萊爾的作品、以及創作過程裡經驗概念的Erfahrung與Erlebnis之二重性。 | zh_TW |
dc.description.tableofcontents | 論文摘要 i 前言 1 法西斯主義與大眾 1 大眾的角色——演員或觀眾 4 德國表現主義電影 法國印象主義電影 蘇聯蒙太奇電影 第一章 電影與震驚體驗 15 建築與大眾之感受模式 16 蒙太奇與震驚體驗 19 第二章 震驚體驗與不連續性 32 非意願回憶與時間感 32 震驚體驗與現實條件 37 第三章 大眾與主題 50 第四章 經驗與創造性 63 結語 72 | zh_TW |
dc.language.iso | en_US | - |
dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G0088154006 | en_US |
dc.subject (關鍵詞) | Erfahrung | en_US |
dc.subject (關鍵詞) | Erlebnis | en_US |
dc.subject (關鍵詞) | experience | en_US |
dc.subject (關鍵詞) | shock | en_US |
dc.subject (關鍵詞) | memoire involontaire | en_US |
dc.subject (關鍵詞) | memoire volontaire | en_US |
dc.title (題名) | 班雅明論波特萊爾詩學之Erfahrung與Erlebnis | zh_TW |
dc.type (資料類型) | thesis | en |
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