20世纪90年代以来西方艺术人类学关键论争

发布时间：2018-07-10 11:47

  本文选题：世纪年代 + 西方　； 参考：《思想战线》2015年03期

【摘要】：20世纪90年代以来,西方人类学发生艺术研究转向,艺术人类学理论形态呈现一种交织纷繁的状态。当代人类学艺术研究已不存在一种统一叙事话语,而呈现出一种敞开柔性取向。因此,为了理解20世纪90年代以来人类学艺术研究理论,我们可以将之链接为人类学界经典关键论争:艺术与能动性;遣返原居地;文化所有权;价值的流变;非—艺术与非—文化;后部落艺术;原住民艺术原真性;作为武器的艺术;文化解释力;遗产空间与博物馆。通过于此,以20世纪90年代以来的英文原著文本为基础,思考20世纪90年代以来西方艺术人类学理论前沿轨迹。在回顾艺术人类学理论的众声汇集的景观的同时,在繁茂的纷杂表象中找寻问题的实质。
[Abstract]:Since 1990's, the western anthropology has turned to artistic research, and the theoretical form of art anthropology presents a state of intertwined and complicated. There is no unified narrative discourse in contemporary anthropological art studies, but an open sexual orientation. Therefore, in order to understand the anthropological art research theory since the 1990s, we can link it to the key debates of anthropology: art and initiative; repatriation; cultural ownership; value evolution; Non-Art and Non-Culture; Post-Tribal Art; Native Art authenticity; Art as a weapon; Cultural interpretation; Heritage Space and Museum. Based on the original English texts since the 1990s, this paper considers the frontier track of western art anthropology theory since the 1990s. While reviewing the popular landscape of artistic anthropology theory, we seek the essence of the problem in the lush and complicated appearance.
【作者单位】： 浙江财经大学艺术学院;
【基金】：浙江省社科联课题“当代西方艺术人类学理论范式与取向研究”阶段性成果(2014B077)
【分类号】：C912.4
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本文编号：2113298