本文選題：精英藝術(shù)　切入點：高雅藝術(shù)　出處：《華中師范大學(xué)》2001年碩士論文　論文類型：學(xué)位論文

【摘要】： 傳統(tǒng)精英藝術(shù)的神圣性不是與生俱來的，更不是永恒不變的。藝術(shù)的神圣 性在前現(xiàn)代時期來源于自身以外的宗教；當宗教衰微之后，“天才”和世俗政 治權(quán)力成了精英藝術(shù)的新神。然而，隨著20世紀文化的變遷，傳統(tǒng)的人文藝 術(shù)文化急劇衰落，舊的精英文化階層解體，藝術(shù)的膜拜價值最終淡出了歷史舞 臺。本文探討了傳統(tǒng)精英藝術(shù)在現(xiàn)代社會陷入窘境的原因，同時，描述了在現(xiàn) 代文藝市場條件下，新的文藝觀念和趣味的形成，最后期待著新的人文藝術(shù)精 神的誕生。 全文除前言和結(jié)語外，共分為四個大部分。一，神的誕生。進入現(xiàn)代社會 以來，，雖然宗教之神讓位了，藝術(shù)的膜拜價值和禮儀根基卻頑強地保留下來： 一場新的造神運動開始了，這便是藝術(shù)之神的誕生和藝術(shù)對世俗之神——公共 政治生活的迷戀。精英藝術(shù)似乎總是傾向獲得神性，不管獲得神性的途徑如何， 都是在共同走向崇高。二，神的窘境。這部分有三節(jié)：1，科技文化的興起對 傳統(tǒng)精英文化的挑戰(zhàn)。2，現(xiàn)代主義運動的困境：藝術(shù)與生活的距離越來越遠。 3，現(xiàn)代文化市場和消費文化的興起對傳統(tǒng)精英藝術(shù)的沖擊。三，神的隱退。 這部分從五個方面分析了現(xiàn)代社會文化的變遷對藝術(shù)及其主體的影響導(dǎo)致了 藝術(shù)之神的遠游：1，隨著理性的張揚和科技的發(fā)展，世界和人自身逐漸“脫 魅”。2，現(xiàn)代大工業(yè)生產(chǎn)和精細的社會分工割裂了傳統(tǒng)文化意義上的有機的人。 3，現(xiàn)代市場經(jīng)濟的功利哲學(xué)與傳統(tǒng)意義上的那個著眼于人的精神世界之豐富 與提升的文化概念天然沖突。4，隨著藝術(shù)與技術(shù)的結(jié)合，新的美學(xué)原則在崛 起。5，藝術(shù)一體化功能被新興文化消費方式和大眾傳媒所分解和取代。四， 荒原抑或新的世界。在娛樂性、技術(shù)性、平民化浪潮的推動下，藝術(shù)最終重新 回到生活中來，成為生活的一部分。這是和傳統(tǒng)的精英藝術(shù)截然不同的藝術(shù)形 態(tài)。
[Abstract]:The sanctity of traditional elite art is not born, nor is it immutable. The holiness of art. Sex, in the pre-modern period, came from a religion other than itself; when religion declined, "genius" and secular government. Ruling power has become the new god of elite art. However, with the change of culture in 20th century, traditional human literature and art. With the rapid decline of art culture and the disintegration of the old elite cultural stratum, the worship value of art finally faded out of historical dance. This paper discusses the reasons why traditional elite art is in a difficult situation in modern society, and at the same time, describes the present situation. Under the market conditions of literature and art in the 1900s, the formation of new ideas and tastes of literature and art is expected at last. The birth of God. In addition to the preface and conclusion, the full text is divided into four parts. First, the birth of God. Enter the modern society. Since then, although religious gods have given way, the value of worship and the foundations of etiquette in art have been tenaciously preserved:. A new movement to create gods has begun, and this is the birth of the god of art and the public of art to the worldly. The infatuation of political life. Elite art always seems to have a tendency to acquire divinity, regardless of the way in which it is acquired. This part has three verses: 1, the rise of science and technology culture. The challenge of traditional elite culture. 2. The dilemma of modernism: the distance between art and life. 3, the rise of modern cultural market and consumer culture impact on the traditional elite art. Third, the retreat of God. This part analyzes the influence of modern social culture on art and its subject from five aspects. With the promotion of reason and the development of science and technology, the world and man gradually "get rid of". Meizu. 2, modern industrial production and fine social division of labor seperate the organic people in the sense of traditional culture. The utilitarian philosophy of the modern market economy and the richness of the spiritual world focused on human beings in the traditional sense. With the combination of art and technology, the new aesthetic principles are on the rise. Since. 5, the function of art integration has been decomposed and replaced by the new culture consumption mode and mass media. The wilderness or the new world. Driven by the wave of entertainment, technology, and popularisation, art is finally re-established. Come back to life and be a part of it. It's a very different art form from traditional elite art. State.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2001
【分類號】：J0

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本文編號：1621220