【摘要】：格爾茨深受符號象征理論的啟示,并將闡釋人類學理論注入田野-民族志的文化分析中。在此種理論觀照下,非西方族群的藝術(shù)現(xiàn)象和審美經(jīng)驗成為了一種象征符號,對于藝術(shù)符號的闡釋解碼便關(guān)涉著流動的文化意義和美學邏輯。他將藝術(shù)的理解置入地方性語境中,進而提煉出藝術(shù)作品和藝術(shù)活動主體中所蘊含的美學質(zhì)素。格爾茨以文化整體觀切入,運用"深描民族志"的方式對地方族群審美的情境性進行近距離體驗和闡釋,而在此基礎(chǔ)上所形成的符號論美學觀則對西方傳統(tǒng)美學理論有著特定的人類學反思,并對中國本土美學建構(gòu)具有借鑒和啟發(fā)價值。
[Abstract]:Gertz was deeply inspired by symbolic symbolism and introduced the theory of interpretive anthropology into the cultural analysis of field- ethnography. Under this theory, the artistic phenomenon and aesthetic experience of non-western ethnic groups have become a symbolic symbol, and the interpretation and decoding of artistic symbols are concerned with the flowing cultural significance and aesthetic logic. He puts the understanding of art into the local context and then abstracts the aesthetic quality contained in the works of art and the subject of art activities. In the view of the whole culture, Gertz uses the way of "deep description of ethnography" to make a close experience and explain the aesthetic situation of local ethnic groups. On this basis, the aesthetic concept of symbolic theory has a specific anthropological reflection on the western traditional aesthetic theory, and has reference and enlightening value to the construction of Chinese native aesthetics.
【作者單位】： 中南民族大學民族學與社會學院;
【分類號】：B83-06
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本文編號：2389679