本文選題：跨文化交際　切入點(diǎn)：當(dāng)代藝術(shù)　出處：《上海外國語大學(xué)》2009年碩士論文　論文類型：學(xué)位論文

【摘要】： 跨文化交際及跨文化現(xiàn)象是現(xiàn)代社會不容忽視的一個特征。它存在于社會各領(lǐng)域,比如商業(yè)交往,教育交流,及當(dāng)代藝術(shù)。藝術(shù)是文化的產(chǎn)物,二者關(guān)系密切,不可分割�？v觀歷史,整個中國當(dāng)代藝術(shù)的發(fā)展過程,其實(shí)也是一個跨文化交流的過程。從最初的技法影響,到八九十年代藝術(shù)家的出國熱,中西方文化之間的交流從未間斷。無數(shù)的藝術(shù)家走出國門去追尋更廣闊空間,一些取得了成功,一些遺憾地失敗。他們成功或失敗的原因何在?藝術(shù)家事業(yè)上的成功與他們的跨文化交際能力和文化敏感度有什么樣的關(guān)系?近年來,中國當(dāng)代藝術(shù)在國際上備受矚目,中國藝術(shù)家的作品屢創(chuàng)天價。而隨著全球經(jīng)濟(jì)危機(jī)的蔓延,當(dāng)代藝術(shù)的泡沫有所破滅,人們開始更清醒地思索中國當(dāng)代藝術(shù)的出路與發(fā)展方向,當(dāng)代藝術(shù)市場如何在海內(nèi)外資本較量中健康成長,在中西方文化的碰撞中,中國藝術(shù)怎樣在敞開胸懷多元化發(fā)展的同時保持中華文化的精粹等問題是人們關(guān)注的焦點(diǎn)。本文即是對以上問題的探索。本文以定性分析為主,輔以定量分析。首先分析了中國當(dāng)代藝術(shù)的發(fā)展歷程及跨文化因素在其中的作用,說明當(dāng)代藝術(shù)是跨文化交流與文化碰撞融合的結(jié)果。第四章研究比較了三位知名藝術(shù)家:蔡國強(qiáng),陳丹青和何多苓。蔡國強(qiáng)是移居海外并長期在國外發(fā)展的藝術(shù)家代表,陳丹青代表了在海外生活了一段時期而后歸國的一類藝術(shù)家,何多苓則代表了始終留在國內(nèi)發(fā)展的藝術(shù)家。研究對比表明,三人的收藏群體和主要受眾均有所差別,在海外發(fā)展的藝術(shù)家,在整體發(fā)展上擁有相對來說更為廣闊的空間,而其國際化的收藏群體,則是高價的堅(jiān)實(shí)后盾。但在國內(nèi)發(fā)展的藝術(shù)家,由于其對中國文化的深刻表達(dá)及對本土生活情感等的貼近性,擁有更龐大的國內(nèi)受眾。同時,在當(dāng)代藝術(shù)中,存在著“中國符號”及“去中國化”兩種論調(diào),筆者認(rèn)為,既不能讓中國符號成為中國藝術(shù)的全部,也不能一概否定之。藝術(shù)的本身,在于用開放的態(tài)度,包容的心態(tài)和不斷創(chuàng)新的精神,來表達(dá)人類對真善美的追求。
[Abstract]:Cross-cultural communication and cross-cultural phenomena are a feature of modern society that can not be ignored. They exist in various fields of society, such as business exchanges, educational exchanges, and contemporary art. Art is the product of culture, and the two are closely related. Throughout history, the entire development of contemporary Chinese art has also been a process of cross-cultural exchange. From the initial influence of techniques to the craze of artists in the 1980s and 1990s, The exchanges between Chinese and western cultures have never stopped. Countless artists have gone abroad to pursue a broader space. Some have succeeded and some have unfortunately failed. What are the reasons for their success or failure? What is the relationship between the success of artists' career and their intercultural communication ability and cultural sensitivity? In recent years, Chinese contemporary art has attracted much international attention, and the works of Chinese artists have repeatedly set skyrocketing prices. With the spread of the global economic crisis, the bubble of contemporary art has burst. People begin to think more soberly about the way out and development direction of Chinese contemporary art, how the contemporary art market can grow healthily in the competition of capital at home and abroad, and in the collision of Chinese and western cultures. How to keep the essence of Chinese culture while opening the mind to the development of diversity is the focus of people's attention. This paper is an exploration of the above problems. This paper focuses on qualitative analysis. First of all, it analyzes the development of Chinese contemporary art and the role of cross-cultural factors in it. Chapter 4th studies and compares three well-known artists: Cai Guoqiang, Chen Danqing and he Duoling. Cai Guoqiang is a representative of artists who emigrate and develop abroad for a long time. Chen Danqing represents a class of artists who have lived abroad for a period and then returned to China, while he Douling represents artists who have always remained in China for development. Research and comparison shows that the three people have different collections and major audiences. Artists who have developed overseas have a relatively broader space for overall development, while their international collection groups are solid backing for high prices. But artists developed in China, Because of its deep expression of Chinese culture and its closeness to local life, it has a larger domestic audience. At the same time, in contemporary art, there are two kinds of theories: "Chinese symbol" and "deChina-ization". The art itself is to express mankind's pursuit of truth, goodness and beauty with an open attitude, a tolerant mind and a spirit of constant innovation.
【學(xué)位授予單位】：上海外國語大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：J124;G04

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 韓明蓮;文學(xué)與藝術(shù):跨文化傳播的重要途徑——約翰·坎頓的文化傳播理論[J];泰安師專學(xué)報;1998年02期

，

本文編號：1610307