本文關(guān)鍵詞： 當(dāng)代藝術(shù)批評 文化身份 主體性　出處：《西南大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：針對當(dāng)代藝術(shù)批評文化身份的主體性現(xiàn)狀,本文旨在從兩個方面對其進行系統(tǒng)的研究,一是“當(dāng)代藝術(shù)批評文化身份的主體性特征”,二是“當(dāng)代藝術(shù)批評文化身份主體性缺失的成因分析”。對“當(dāng)代藝術(shù)批評文化身份主體性特征”的研究,筆者主要采用了喬治·拉倫所架構(gòu)的文化身份觀,以及從笛卡爾開始一直到現(xiàn)當(dāng)代闡釋學(xué)所架構(gòu)的主體觀。在本文中,筆者向以上兩者借鑒的不是它們的研究成果,而是它們的推演方式與研究方法�；谝陨蟽牲c,筆者從批評文本入手,將當(dāng)代藝術(shù)批評劃分為特定的四種范式,分別為“現(xiàn)實主義批評”范式;“玩世現(xiàn)實主義批評”范式;“女性主義批評”范式;“后殖民主義批評”范式。通過對四種不同批評范式的歸類與分析,筆者得出相應(yīng)的學(xué)術(shù)結(jié)論是:當(dāng)代藝術(shù)批評文化身份的主體性“缺失”這一特征,“缺失”的主體性特征是當(dāng)代藝術(shù)批評最為突出的特征,它深刻影響著當(dāng)代藝術(shù)及其批評的發(fā)展。文化身份是一個歸屬于社會意識形態(tài)之下的立場問題,其主體性現(xiàn)狀與社會意識形態(tài)對批評家主體意識的影響密不可分。而一個國家或者一個民族意識形態(tài)的養(yǎng)成往往不是單方面自生的過程,基于這樣的考慮,針對文化身份主體性“缺失”的成因研究,筆者主要從三個維度對其進行了討論與闡釋,分別是形成這種“缺失”現(xiàn)狀的“政治語境”、“經(jīng)濟語境”和“文化語境”。通過分析,筆者得出以下學(xué)術(shù)結(jié)論:(1)導(dǎo)致當(dāng)代藝術(shù)批評文化身份主體性“缺失”的核心因素是人們對本土文化認(rèn)同感和責(zé)任感的淡漠。隨著全球化進程的發(fā)展,西方文化與思想介入到中國文化領(lǐng)域,擴展了文化學(xué)者視野的同時也將西方文化的浪潮與思維方式帶到中國,由此推論開去,給中國的文化學(xué)者效仿經(jīng)濟繁榮從而實現(xiàn)文化繁榮的想法提供了可能。但是,我們卻容易因此迷失自身的文化身份。文化只有保持自己的根系,才會在全球化的浪潮中免于被消解的命運,從而展現(xiàn)出本土文化根深葉茂的景象。(2)政治發(fā)展的內(nèi)在需要與經(jīng)濟政策的引導(dǎo)是當(dāng)代藝術(shù)及藝術(shù)批評文化身份的主體性幾經(jīng)變幻的重要原因。改革開放以來,我國在經(jīng)濟上、科技上西方學(xué)習(xí),取得了長足的進步,由此認(rèn)為在文化上不假思索地假借西方一樣可以取得輝煌的成果;這種邏輯導(dǎo)致藝術(shù)批評文化身份主體性的“缺失”成為必然。(3)藝術(shù)批評文化身份的主體性是在社會變革的過程中形成和發(fā)展起來的,我們無法將影響它的政治、經(jīng)濟、文化因素孤立起來,它們之間彼此關(guān)聯(lián),互為因果。(4)針對文化身份“缺失”現(xiàn)狀的成因分析所進行的探討及其所得出的相應(yīng)學(xué)術(shù)結(jié)論,有望為當(dāng)代藝術(shù)批評提供相應(yīng)的理性思考與價值啟示。
[Abstract]:In view of the present situation of the subjectivity of the cultural identity of contemporary art criticism, this paper aims to make a systematic study on it from two aspects, one is "the subjective characteristics of the cultural identity of contemporary art criticism". The second is "Analysis of the causes of the absence of cultural identity subjectivity in contemporary art criticism". In the study of "the subjective characteristics of cultural identity of contemporary art criticism", the author mainly adopts the cultural identity view constructed by George Lallon. And from Descartes to the modern and contemporary hermeneutics of the framework of the subjective view. In this article, the author to the above two are not their research results. Based on the above two points, the author divides contemporary art criticism into four specific paradigms, which are "realistic criticism" paradigm. The paradigm of "play realistic criticism"; "Feminist criticism" paradigm; Through the classification and analysis of four different criticism paradigms, the author draws the corresponding academic conclusion that the subjectivity of the cultural identity of contemporary art criticism is "lacking". The subjective feature of "missing" is the most prominent feature of contemporary art criticism, which deeply influences the development of contemporary art and its criticism. The present situation of subjectivity is closely related to the influence of social ideology on the subject consciousness of critics. However, the cultivation of ideology of a country or a nation is often not a process of unilateral birth, based on such considerations. In view of the research on the causes of the "absence" of the subjectivity of cultural identity, the author mainly discusses and explains it from three dimensions, which are the "political context" which forms the present situation of the "absence" of the cultural identity. "Economic context" and "Cultural context". The author draws the following academic conclusion: 1) the core factor that leads to the lack of subjectivity of cultural identity in contemporary art criticism is the indifference of people to the sense of identity and responsibility of local culture. Western culture and thought involved in the field of Chinese culture, expanding the horizons of cultural scholars, but also bring the wave of Western culture and the way of thinking to China, thus inferring. This makes it possible for Chinese cultural scholars to emulate the idea of economic prosperity and thus achieve cultural prosperity. However, it is easy for us to lose our own cultural identity. Culture only keeps its roots. To avoid the fate of being destroyed in the wave of globalization. Thus, the local culture is deeply rooted and leafy. The internal need of political development and the guidance of economic policy are the important reasons for the subjectivity of contemporary art and artistic criticism cultural identity to change several times. In economy, science and technology, western learning has made great progress, so we can make brilliant achievements in culture without thinking about the West. This logic leads to the "absence" of the cultural identity of art criticism as a necessity) the subjectivity of the cultural identity of art criticism is formed and developed in the process of social change. We cannot isolate the political, economic and cultural factors that affect it; they are interrelated. The analysis of the causes of the lack of cultural identity and the corresponding academic conclusions are expected to provide the corresponding rational thinking and value enlightenment for contemporary art criticism.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J05

【參考文獻】

相關(guān)期刊論文 前4條

1 何桂彥;;什么是當(dāng)代藝術(shù)批評?[J];美術(shù)觀察;2010年05期

2 劉曉路,鄒躍進,王端廷;中國美術(shù)中的文化殖民問題三人談[J];美術(shù)觀察;1996年12期

3 王林;;奧利瓦不是中國藝術(shù)的救星[J];讀書;1993年10期

4 栗憲庭;現(xiàn)代迷信的沉痛教訓(xùn)——談連環(huán)畫《楓》對典型環(huán)境的刻劃[J];美術(shù);1979年08期

相關(guān)博士學(xué)位論文 前1條

1 邱正倫;藝術(shù)創(chuàng)造力的主體性建構(gòu)[D];西南大學(xué);2009年

，

本文編號：1493038