本文選題：世紀(jì)年代 + 西方��； 參考：《思想戰(zhàn)線》2015年03期

【摘要】：20世紀(jì)90年代以來,西方人類學(xué)發(fā)生藝術(shù)研究轉(zhuǎn)向,藝術(shù)人類學(xué)理論形態(tài)呈現(xiàn)一種交織紛繁的狀態(tài)。當(dāng)代人類學(xué)藝術(shù)研究已不存在一種統(tǒng)一敘事話語,而呈現(xiàn)出一種敞開柔性取向。因此,為了理解20世紀(jì)90年代以來人類學(xué)藝術(shù)研究理論,我們可以將之鏈接為人類學(xué)界經(jīng)典關(guān)鍵論爭:藝術(shù)與能動(dòng)性;遣返原居地;文化所有權(quán);價(jià)值的流變;非—藝術(shù)與非—文化;后部落藝術(shù);原住民藝術(shù)原真性;作為武器的藝術(shù);文化解釋力;遺產(chǎn)空間與博物館。通過于此,以20世紀(jì)90年代以來的英文原著文本為基礎(chǔ),思考20世紀(jì)90年代以來西方藝術(shù)人類學(xué)理論前沿軌跡。在回顧藝術(shù)人類學(xué)理論的眾聲匯集的景觀的同時(shí),在繁茂的紛雜表象中找尋問題的實(shí)質(zhì)。
[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.
【作者單位】： 浙江財(cái)經(jīng)大學(xué)藝術(shù)學(xué)院;
【基金】：浙江省社科聯(lián)課題“當(dāng)代西方藝術(shù)人類學(xué)理論范式與取向研究”階段性成果(2014B077)
【分類號(hào)】：C912.4
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本文編號(hào)：2113298