引言苏珊·桑塔格,在二十世纪六十年代提出“反对阐释”观点,并以此进行艺术批评。从古典主义到浪漫主义再到现代主义,艺术作品的内容,一直是读者追求的目标。从柏拉图的模仿说至今,艺术作品有原型、有内容的观点根深蒂固,在心理分析、接受美学、阐释学等流派中愈演愈烈,并导致过度阐释。在现代主义尤其是后现代主义时期,新的艺术形式与意识观念出现,使传 Introduction Susan Sontag, in the nineteen sixties put forward “opposition to interpretation” point of view, and as a result of artistic criticism. From classicism to romanticism to modernism, the content of works of art has always been the goal pursued by readers. From the imitation of Plato to this day, there is a prototype of the work of art, with deep-rooted viewpoints of content and intensification in psychoanalysis, reception aesthetics, hermeneutics and other genres, leading to over-interpretation. In the period of modernism and postmodernism in particular, new artistic forms and concepts of consciousness emerged,