本文選題：后現(xiàn)代藝術(shù) + 荒誕情結(jié)��； 參考：《南通大學(xué)學(xué)報(社會科學(xué)版)》2014年03期

【摘要】：后現(xiàn)代藝術(shù)最典型的特征是其荒誕情結(jié)的雙面性。一方面,后現(xiàn)代藝術(shù)高揚感性主體,崇尚自我意識,它所代表的是反理性反科學(xué)的藝術(shù)原則;另一方面,后現(xiàn)代藝術(shù)在實踐中又從未擺脫科學(xué)的理性精神。后現(xiàn)代藝術(shù)試圖推倒一切藝術(shù)的審美原則,但事實上它們在否定一切傳統(tǒng)美學(xué)基礎(chǔ)上,又重新建構(gòu)起自己的荒誕美學(xué)范疇。對于后現(xiàn)代藝術(shù)的荒誕情結(jié)的雙面性,我們既要看到它表面上的非理性、滑稽與荒謬等詭異表象,又要看到它深層次的理性的、嚴(yán)肅的思考。
[Abstract]:The most typical feature of post-modern art is its absurdity.On the one hand, postmodern art exalts perceptual subject and advocates self-consciousness, which represents the anti-rational and anti-scientific artistic principle; on the other hand, postmodern art never gets rid of the scientific rational spirit in practice.Post-modern art tries to push down the aesthetic principles of all art, but in fact they reconstruct their absurd aesthetic category on the basis of negating all traditional aesthetics.With regard to the absurdity of postmodern art, we should not only see its appearance of irrationality, antics and absurdity, but also its deep rational and serious thinking.
【作者單位】： 鹽城師范學(xué)院美術(shù)學(xué)院;
【基金】：江蘇省高校哲學(xué)社會科學(xué)研究基金項目(2012SJD760034)
【分類號】：J110.99
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本文編號：1732275