“艺术终结论”批判
发布时间：2018-09-13 12:15
【摘要】： 艺术终结的话题是伴随西方现代化进程而出现的话题。大约从18世纪开始,西方社会经历了从传统到现代再到后现代的转化。相应地,西方艺术也经历了从传统艺术到现代艺术再到后现代艺术的转化。这样,西方艺术的形态、意义以及地位就发生了三次历史性转折:即浪漫艺术、现代艺术、后现代艺术。这三次艺术转折都引发了艺术终结的话题,黑格尔、阿多诺、丹托三人恰恰是这三种不同的艺术终结话题的标示。黑格尔作为真正意义上的艺术终结始作俑者,阿多诺作为考察现代艺术的代表,丹托作为考察后现代艺术的榜样。因此,本文就以这三个人的艺术终结思想作为研究的对象,希望梳理艺术终结理论内涵的历史演变,以有利于我们真正地认识艺术活动以及艺术与哲学、艺术与艺术史的关系。本文主要通过“历史叙事”的方法,以“哲学—历史—艺术”有机统一的视角深入到黑格尔、阿多诺与丹托的具体语境及其文本来分析艺术终结的缘起与不同内涵,并进而给予批判性反思。本文共分四章对这个问题展开论述。 第一章主要研究黑格尔的艺术终结思想。就黑格尔来看,其“艺术终结”的提出有着自身的理论背景。黑格尔的思想以严谨而完备的体系性著称,在求“真”的哲学演绎中,艺术最后被哲学所取代,从而引发艺术终结。透过黑格尔纷繁的艺术终结判词,我们认为其终结思想大致有这么三层意思:一、艺术之所以终结,是因为它不再是心灵的最高需要,它已经转移到宗教和哲学的观念世界去了。二、伴随古典型艺术向浪漫型艺术的过渡,黑格尔心目中的理想艺术被解体了。三、黑格尔认为,现代市民社会带来了种种不利于艺术发展的因素,因此艺术面临着危机,这种危机构成了市民社会的一种表征。通过对这三个命题的阐释,本文进一步分析了黑格尔理论自身的内在矛盾,从而指出,黑格尔的艺术终结并不表示艺术死亡,它只是表明了一种艺术困境,这种艺术困境正是人类生存困境的无意识的体现。 第二章主要研究阿多诺的艺术终结思想。对于阿多诺来说,他更多的是面对技术化、商业化带来文化困境与艺术危机的语境下通过反思理性而进一步提出艺术终结问题的。在阿多诺看来,作为承担自由与批判责任的艺术,此时却随着工具理性的不断发展而处于两极发展之中,一方面是伴随各种新媒介不断出现而催生的大众文化的繁荣,另一方面是伴随反抗异化而陷入表达危机的现代艺术的萎缩。面对这种艺术危机,阿多诺认为他那时的大众艺术已经被商品化,失去了艺术内在的反抗与批判功能,于是对文化工业提出了批判。与此同时,阿多诺寄希望于“反艺术”的艺术来进行审美拯救。这二者某种程度上构成了阿多诺艺术终结的话语表述。因此,阿多诺试图通过一种更强的求“真”意识赋予危机中的艺术以前行的力量,不过这种“真”与黑格尔的“真”已不完全相同。 第三章主要研究丹托的艺术终结思想。丹托艺术终结论的提出与其对当下艺术实践的密切关注相联系。20世纪60年代以来的艺术运动、艺术事件、艺术行为、艺术形式让人不得不对“艺术是什么”重新进行哲学反思。不过他与黑格尔从哲学出发推导出艺术终结相反,他则是从艺术现象学的角度发现艺术上升到哲学意识,从而得出了艺术终结于哲学的结论。在丹托看来,哲学真理恢复自我意识,标志着西方艺术的宏大叙事的终结,开辟了一个具决定性重要意义的转向,开辟了对艺术理论的依赖,艺术现在成为对自身身份的哲学化认知。这样一来,丹托认为艺术终结了,艺术史也终结了。不过,他认为终结的只是一种艺术史的叙事方式,而不是艺术之死亡,因此艺术作品还会继续存在,但已不具历史方向和意义,艺术进入了一个自由、平等、多元的时代。 第四章是在前面三章的讨论基础上对艺术终结话题的相关理论问题的进一步描述与分析。其实,尽管黑格尔、阿多诺、丹托的艺术终结的理论内涵不同,但是都是立足于“艺术是什么”这个本质主义的问题。也就是说,他们是在用“传统”的艺术观念不能回答“新”出现的艺术现象时提出了艺术终结。但是,如果我们从历史叙事的视角来看,从艺术与哲学的关系史以及艺术概念演变史来把握艺术存在的深层机制的视角来看,艺术终结只不过是艺术危机的一种应答方式而已。这种应答方式其本身根本就不可能让艺术死亡,而是导致了“反”传统成为一种“新”传统,“反”艺术成为一种“新”艺术,而这种“新”传统与“新”艺术又逃不掉被“反”的命运。从这种意义上讲,非但艺术本身没有终结(死亡),就连艺术终结论也不会终结。在艺术激变的时候,艺术终结论往往就可能又会出现,但它恰恰是一种艺术继续发展与前行的动力和契机。人类不会消亡,历史不会消亡,艺术本身就不会“终结”(消亡)。
[Abstract]:The topic of the end of art is a topic that emerges with the process of Western modernization. From about the 18th century, western society has undergone the transformation from tradition to modern and then to post-modern. Accordingly, western art has also undergone the transformation from traditional art to modern art and then to post-modern art. Hegel, Adorno and Danto are just the symbols of the three different topics of the end of art. Hegel, Adorno and Danto are the real founders of the end of art and Adorno are the actors of Adorno. Danto is an example of post-modern art when we study the representative of modern art. Therefore, this paper takes the thought of art termination of these three people as the object of study, hoping to sort out the historical evolution of the connotation of art termination theory, so as to help us truly understand the relationship between art activities, art and philosophy, art and art history. This paper analyzes the origin and different connotations of the end of art from the perspective of the organic unity of philosophy, history and art to the specific contexts and texts of Hegel, Adorno and Dento, and then gives a critical reflection.
The first chapter mainly studies Hegel's thought of artistic termination. From Hegel's point of view, his proposition of "artistic termination" has its own theoretical background. Hegel's thought is famous for its rigorous and complete system. In the philosophical deduction of seeking "truth", art is finally replaced by philosophy, thus triggering the end of art. The conclusion of art has three meanings: first, art has ended because it is no longer the supreme need of the soul, and has been transferred to the world of religious and philosophical ideas. Second, with the transition from classical art to romantic art, Hegel's ideal art has been disintegrated. Thirdly, Hegel holds that the modern civil society has brought about various factors that are not conducive to the development of art, so art is facing a crisis, which constitutes a symbol of civil society. Through the interpretation of these three propositions, this paper further analyzes the internal contradictions of Hegel's theory, thus pointing out that the end of Hegel's art is not. It means the death of art. It just shows a kind of art dilemma, which is the unconscious manifestation of human existence dilemma.
The second chapter mainly studies Adorno's thought of art termination. For Adorno, he puts forward the question of art termination in the context of Cultural Dilemma and art crisis caused by technicalization and commercialization. With the constant development of rationality, Adorno believes that popular art at that time has been commercialized and lost, because of the prosperity of mass culture accompanied by the emergence of various new media, and the atrophy of modern art which is in crisis of expression accompanied by resistance to alienation. At the same time, Adorno hopes to carry on the aesthetic salvation in the "anti-art" art. These two to some extent constitute Adorno's discourse expression of the end of art. The power of art before the machine, but this kind of "true" is not exactly the same as Hagel's "true".
The third chapter mainly studies Danto's thought of the end of art. Danto's conclusion of the end of art is related to his close attention to contemporary art practice. In Danto's view, philosophical truth restores self-consciousness, marking the end of the grand narrative of Western art and opening up a decisive turn of significance. Instead of relying on art theory, art is now a philosophical recognition of its identity. In this way, Danto believes that art is over and the history of art is over. Meaning, art has entered an era of freedom, equality and pluralism.
Chapter 4 is a further description and analysis of the relevant theoretical issues on the topic of art termination on the basis of the discussion in the previous three chapters. In fact, although Hegel, Adorno and Danto have different theoretical connotations of art termination, they are all based on the essentialism of what art is. "Art concept" can not answer the "new" artistic phenomena and puts forward the end of art. However, from the perspective of historical narration, from the perspective of the relationship between art and philosophy and the evolution of artistic concepts to grasp the deep mechanism of artistic existence, the end of art is only a response to the artistic crisis. This kind of reply can not make art die, but lead to the "anti" tradition become a "new" tradition, and "anti" art become a "new" art, and this "new" tradition and "new" art can not escape the fate of being "anti". In this sense, not only art itself has no end. End (death), even the conclusion of the end of art will not end. In the time of artistic change, the conclusion of the end of art will often appear, but it is precisely a kind of art continues to develop and move forward momentum and opportunity.
【学位授予单位】：浙江大学
【学位级别】：博士
【学位授予年份】：2008
【分类号】：J01
本文编号：2241148
[Abstract]:The topic of the end of art is a topic that emerges with the process of Western modernization. From about the 18th century, western society has undergone the transformation from tradition to modern and then to post-modern. Accordingly, western art has also undergone the transformation from traditional art to modern art and then to post-modern art. Hegel, Adorno and Danto are just the symbols of the three different topics of the end of art. Hegel, Adorno and Danto are the real founders of the end of art and Adorno are the actors of Adorno. Danto is an example of post-modern art when we study the representative of modern art. Therefore, this paper takes the thought of art termination of these three people as the object of study, hoping to sort out the historical evolution of the connotation of art termination theory, so as to help us truly understand the relationship between art activities, art and philosophy, art and art history. This paper analyzes the origin and different connotations of the end of art from the perspective of the organic unity of philosophy, history and art to the specific contexts and texts of Hegel, Adorno and Dento, and then gives a critical reflection.
The first chapter mainly studies Hegel's thought of artistic termination. From Hegel's point of view, his proposition of "artistic termination" has its own theoretical background. Hegel's thought is famous for its rigorous and complete system. In the philosophical deduction of seeking "truth", art is finally replaced by philosophy, thus triggering the end of art. The conclusion of art has three meanings: first, art has ended because it is no longer the supreme need of the soul, and has been transferred to the world of religious and philosophical ideas. Second, with the transition from classical art to romantic art, Hegel's ideal art has been disintegrated. Thirdly, Hegel holds that the modern civil society has brought about various factors that are not conducive to the development of art, so art is facing a crisis, which constitutes a symbol of civil society. Through the interpretation of these three propositions, this paper further analyzes the internal contradictions of Hegel's theory, thus pointing out that the end of Hegel's art is not. It means the death of art. It just shows a kind of art dilemma, which is the unconscious manifestation of human existence dilemma.
The second chapter mainly studies Adorno's thought of art termination. For Adorno, he puts forward the question of art termination in the context of Cultural Dilemma and art crisis caused by technicalization and commercialization. With the constant development of rationality, Adorno believes that popular art at that time has been commercialized and lost, because of the prosperity of mass culture accompanied by the emergence of various new media, and the atrophy of modern art which is in crisis of expression accompanied by resistance to alienation. At the same time, Adorno hopes to carry on the aesthetic salvation in the "anti-art" art. These two to some extent constitute Adorno's discourse expression of the end of art. The power of art before the machine, but this kind of "true" is not exactly the same as Hagel's "true".
The third chapter mainly studies Danto's thought of the end of art. Danto's conclusion of the end of art is related to his close attention to contemporary art practice. In Danto's view, philosophical truth restores self-consciousness, marking the end of the grand narrative of Western art and opening up a decisive turn of significance. Instead of relying on art theory, art is now a philosophical recognition of its identity. In this way, Danto believes that art is over and the history of art is over. Meaning, art has entered an era of freedom, equality and pluralism.
Chapter 4 is a further description and analysis of the relevant theoretical issues on the topic of art termination on the basis of the discussion in the previous three chapters. In fact, although Hegel, Adorno and Danto have different theoretical connotations of art termination, they are all based on the essentialism of what art is. "Art concept" can not answer the "new" artistic phenomena and puts forward the end of art. However, from the perspective of historical narration, from the perspective of the relationship between art and philosophy and the evolution of artistic concepts to grasp the deep mechanism of artistic existence, the end of art is only a response to the artistic crisis. This kind of reply can not make art die, but lead to the "anti" tradition become a "new" tradition, and "anti" art become a "new" art, and this "new" tradition and "new" art can not escape the fate of being "anti". In this sense, not only art itself has no end. End (death), even the conclusion of the end of art will not end. In the time of artistic change, the conclusion of the end of art will often appear, but it is precisely a kind of art continues to develop and move forward momentum and opportunity.
【学位授予单位】：浙江大学
【学位级别】：博士
【学位授予年份】：2008
【分类号】：J01
【引证文献】
相关期刊论文 前1条
1 江渝;张瑞利;;对艺术终结论与生活美学的深层反思[J];吉首大学学报(社会科学版);2011年05期
相关硕士学位论文 前1条
1 李英宇;艺术观念的演进与变异[D];黑龙江大学;2010年
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