【摘要】：藝術(shù)史觀是丹托藝術(shù)終結(jié)命題構(gòu)架的基礎(chǔ)。聚焦丹托的藝術(shù)史敘事,通過(guò)對(duì)其所認(rèn)為的藝術(shù)的哲學(xué)剝奪問(wèn)題的研讀,可以加深和補(bǔ)充目前學(xué)界對(duì)藝術(shù)終結(jié)命題的討論。在丹托看來(lái),即使到了19世紀(jì)末20世紀(jì)初,藝術(shù)仍然沒(méi)有獲得對(duì)自身的意識(shí),而是處于哲學(xué)的壓迫之下。他把這種壓迫描述為哲學(xué)對(duì)藝術(shù)的剝奪,在這場(chǎng)剝奪運(yùn)動(dòng)中,柏拉圖庚其始,康德傳統(tǒng)和黑格爾傳統(tǒng)續(xù)其后。這些哲學(xué)思想通過(guò)有預(yù)謀的構(gòu)建,把藝術(shù)從現(xiàn)實(shí)中剝離了出去。而恢復(fù)藝術(shù)自我認(rèn)識(shí)的本性,擺脫被剝奪的境遇,是丹托藝術(shù)終結(jié)命題的重要理論指向。
[Abstract]:The view of art history is the foundation of Danto's end proposition. Focusing on Danto's narrative of art history, by studying the philosophical deprivation of art, we can deepen and supplement the discussion on the proposition of the end of art. According to Danto, even at the end of the 19th century and the beginning of the 20th century, art was not conscious of itself, but was oppressed by philosophy. He described this oppression as the deprivation of art by philosophy, in which Plato began, followed by the Kant and Hegel traditions. These philosophical ideas, through premeditated construction, take art out of reality. Restoring the nature of artistic self-knowledge and getting rid of the situation of deprivation is the important theoretical direction of Danto's art ending proposition.
【作者單位】： 四川外語(yǔ)學(xué)院中文系;
【基金】：重慶市教委2009年人文社科項(xiàng)目(09SKJ08)
【分類號(hào)】：J0
，

本文編號(hào)：2341685