【摘要】：正現(xiàn)代意義上的"藝術(shù)"概念以及"藝術(shù)自律性""審美無(wú)功利"等理論規(guī)定性皆是18世紀(jì)以來(lái)西方啟蒙運(yùn)動(dòng)的產(chǎn)物,藝術(shù)與生活間界限的劃定亦是現(xiàn)代性進(jìn)程中諸價(jià)值領(lǐng)域相互分化的結(jié)果。但社會(huì)歷史的演變與藝術(shù)自身的發(fā)展卻在不斷地挑戰(zhàn)著藝術(shù)的神圣性與審美烏托邦,尤其是20世紀(jì)60年
[Abstract]:The concept of "art" in the modern sense and the theoretical stipulation of "artistic self-discipline" and "aesthetic non-utilitarianism" are the products of the Western Enlightenment since the 18th century. The demarcation of the boundary between art and life is also the result of the division of value fields in the process of modernity. However, the evolution of social history and the development of art itself are constantly challenging the sanctity of art and aesthetic utopia, especially in the 60 years of the 20th century.
【作者單位】： 中國(guó)藝術(shù)研究院《藝術(shù)評(píng)論》雜志社;
【分類號(hào)】：J022
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本文編號(hào)：2322376