【摘要】：媒介問題不僅是美學(xué)和藝術(shù)哲學(xué)研究的重要組成部分,而且隨著后現(xiàn)代社會(huì)的到來,逐漸成為研究后現(xiàn)代社會(huì)各種現(xiàn)象和思潮的切入點(diǎn)。本論文試圖通過對(duì)媒介的解讀實(shí)現(xiàn)對(duì)后現(xiàn)代社會(huì)藝術(shù)現(xiàn)象的進(jìn)一步理解。媒介并不是后現(xiàn)代社會(huì)特有的藝術(shù)現(xiàn)象,而是每個(gè)不同時(shí)代都存在并與藝術(shù)發(fā)展密切相關(guān)的事實(shí),但是后現(xiàn)代藝術(shù)的媒介具有其存在的獨(dú)特性。后現(xiàn)代藝術(shù)的媒介不僅僅通過震驚效果的達(dá)到,突現(xiàn)出后現(xiàn)代藝術(shù)的自反性命名,并且更進(jìn)一步成為后現(xiàn)代藝術(shù)發(fā)展的技術(shù)建構(gòu),通過傳媒、消費(fèi)和網(wǎng)絡(luò)實(shí)現(xiàn)了后現(xiàn)代藝術(shù)的媒介性存在。 論文共分七個(gè)部分。 導(dǎo)論主要介紹了選題的意義、目的和研究現(xiàn)狀。二十世紀(jì)中葉以后西方社會(huì)相繼進(jìn)入了后工業(yè)社會(huì),媒介問題成為了西方各學(xué)派在探討后工業(yè)社會(huì)時(shí)無法回避的理論背景。同時(shí)我國(guó)隨著大眾傳播的發(fā)展,藝術(shù)發(fā)展也越來越具有了某些后現(xiàn)代的特征。如何把握藝術(shù)發(fā)展的現(xiàn)狀以及對(duì)未來進(jìn)行預(yù)測(cè)與建構(gòu)是我國(guó)藝術(shù)進(jìn)一步發(fā)展面臨的重要問題。這樣對(duì)媒介問題的研究既是理論發(fā)展也是藝術(shù)實(shí)踐發(fā)展的現(xiàn)實(shí)要求。我國(guó)媒介研究現(xiàn)狀主要有兩個(gè)特點(diǎn):一是媒介研究的專業(yè)化,另一個(gè)則是媒介研究的文化批評(píng)化,媒介成為一種新的文化批評(píng)背景和形式。 第一章 關(guān)于媒介的幾個(gè)基本概念。主要就“媒介”、“藝術(shù)媒介”和“媒介與后現(xiàn)代藝術(shù)”三個(gè)問題進(jìn)行了闡釋。作為媒介定義的第一個(gè)層次是傳播信息的工具包括紙張、光、電、聲波等等眾多符號(hào)載體;同時(shí)由于大眾傳播的迅猛發(fā)展,促成了傳播機(jī)構(gòu)的產(chǎn)生,傳播機(jī)構(gòu)就成為媒介定義的第二個(gè)層次:媒介定義的第三層面是從形而上入手進(jìn)行的闡釋,媒介是使事物之間形成關(guān)系的介質(zhì),并成為形成人類關(guān)系以及決定關(guān)系方式的重要因素�，F(xiàn)代意義的藝術(shù)媒介主要包含三個(gè)層面的意義,首先是藝術(shù)作品的物質(zhì)材料,其次是作品的組織與表現(xiàn)形式,第三層是藝術(shù)品傳播�！懊浇榕c后現(xiàn)代藝術(shù)”這一部分中主要介紹了后現(xiàn)代藝術(shù)的時(shí)間及邏輯劃分,并初步分析了后現(xiàn)代藝術(shù)媒介性存在的原因。 第二章 媒介與后現(xiàn)代藝術(shù)作品體制。如果要探討后現(xiàn)代藝術(shù)的媒介性存在,即通過媒介實(shí)現(xiàn)的反藝術(shù)存在方式,就必須首先探討藝術(shù)性的存在。藝術(shù)作品的存在涉及到兩個(gè)問題:一是藝術(shù)作品的存在方式,一是存在體制。藝術(shù)作品的存在方式作為一種形而上的關(guān)系形式,現(xiàn)實(shí)的連接著物理性的藝術(shù)作品與觀念性的藝術(shù)作品存在,這種關(guān)系就是我們對(duì)藝術(shù)作品存在進(jìn)行理解的媒介。由于內(nèi)容與
[Abstract]:Media is not only an important part of the study of aesthetics and art philosophy, but also a breakthrough point for the study of various phenomena and trends of thought in post-modern society with the arrival of post-modern society. This paper attempts to achieve a further understanding of the art phenomenon in the post-modern society through the interpretation of the media. Media is not a unique artistic phenomenon in post-modern society, but a fact that exists in different times and is closely related to the development of art, but the media of post-modern art has its unique existence. The media of post-modern art not only achieve the shock effect, but also reveal the self-reflexive life name of post-modern art, and further become the technological construction of the development of post-modern art, through the media, Consumption and network realize the media existence of post-modern art. The paper is divided into seven parts. The introduction mainly introduces the significance, purpose and research status of the topic. Since the middle of the 20th century, the western society has entered the post-industrial society one after another, and the media problem has become the theoretical background that the western schools can not avoid when discussing the post-industrial society. At the same time, with the development of mass communication, the development of art has more and more postmodern characteristics. How to grasp the present situation of art development and how to predict and construct the future is an important problem for the further development of art in China. Therefore, the study of media is not only the development of theory but also the practical requirement of the development of art practice. The present situation of media research in China has two main characteristics: one is the specialization of media research, the other is the cultural criticism of media research, which has become a new cultural criticism background and form. The first chapter deals with several basic concepts of media. This paper mainly explains three problems: media, artistic medium and media and post-modern art. As the first level of media definition, information dissemination tools include paper, light, electricity, sound and many other symbol carriers; At the same time, because of the rapid development of mass communication, the media organization becomes the second level of media definition: the third level of media definition is the interpretation from the metaphysical point of view. Media is the medium to form a relationship between things, and become an important factor in the formation of human relations and the manner of relationship. The artistic medium of modern meaning mainly includes three levels of meaning, first is the material of the works of art, secondly is the organization and the form of expression of the works, and the third layer is the dissemination of works of art. In this part, the author mainly introduces the time and logic division of post-modern art, and analyzes the reasons of the existence of media in post-modern art. The second chapter media and post-modern art works system. If we want to explore the media existence of postmodern art, that is, the anti-art existence through the media, we must first explore the existence of artistry. The existence of works of art involves two problems: one is the way of existence of works of art, the other is the system of existence. As a metaphysical form of relationship, the existence of works of art is connected with the existence of physical works of art and idealistic works of art, which is the medium for us to understand the existence of works of art. Due to content and
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2005
【分類號(hào)】：I0

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 李曉宇;呂秀峰;;現(xiàn)代媒介對(duì)傳統(tǒng)藝術(shù)的影響[J];大眾文藝(理論);2009年21期

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本文編號(hào)：2307541