(3.236.222.124) 您好!臺灣時間:2021/05/08 07:44
字體大小: 字級放大   字級縮小   預設字形  
回查詢結果

詳目顯示:::

我願授權國圖
: 
twitterline
研究生:蘇風銘
研究生(外文):Feng-Ming Su
論文名稱:藝術自主性及其不滿
論文名稱(外文):The Autonomy of Art and Its Discontent
指導教授:林宏璋林宏璋引用關係
指導教授(外文):Hong-john Lin
學位類別:碩士
校院名稱:國立臺北藝術大學
系所名稱:美術學系碩士班美術史組
學門:藝術學門
學類:美術學類
論文種類:學術論文
論文出版年:2013
畢業學年度:102
語文別:中文
論文頁數:85
中文關鍵詞:藝術自主性前衛藝術現代藝術藝術機制政治藝術
外文關鍵詞:the autonomy of artavant-gardemodern artart institutionpolitical art
相關次數:
  • 被引用被引用:2
  • 點閱點閱:487
  • 評分評分:系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔
  • 下載下載:0
  • 收藏至我的研究室書目清單書目收藏:0
十八世紀末由康德(Immanuel Kant, 1724~1804)以及席勒(Friederich Schiller, 1759~1805)確立的藝術自主性概念,在十九世紀初的法國轉化為「為藝術而藝術」的口號。這個口號延續著無利害性與無目的性的思想,卻未見康德的判斷力作為知性與理性的橋樑作用以及席勒為藝術設計了擔當社會改革的使命,於是造成了藝術與生活之間的隔閡;同時,這種隔閡的狀態以否定性的概念被理解為是對於社會的批判性。但是,透過馬克思(Karl Marx, 1818~1883)的宗教批判模式卻可以發現藝術自主性的否定性的偽批判性,換言之,藝術自主性實際上是「除魅化」之後的資本主義社會的宗教性意識形態。二十世紀之後,藝術自主性變成是葛林柏格(Clement Greenberg, 1909~1994)所謂的現代藝術的自我批判的概念,甚至,在丹托(Arthur Danto, 1924~ )、迪基(George Dickie, 1926~ )以及卡羅爾(Noël Carroll, 1947~ )等人的分析美學理論當中,還可以發現藝術自主性所形成的機制效應。
對立於藝術自主性的路線,在十九世紀法國空想社會主義者的前衛藝術概念、本雅明(Walter Benjamin, 1892~1940)的「藝術政治化」以及布爾格(Peter Bürger, 1936~ )的前衛藝術理論中,則可以看到否定藝術自主性的思想線索;換言之,前衛藝術以及政治藝術實際上都是對於藝術自主性不滿的概念。而如果布迪厄(Pierre Bourdieu, 1930~2002)的研究以及政治哲學理論中的消極自由學說,對於藝術自主性與新古典自由主義和資本主義生產邏輯之間的共謀性結構可以證成的話,那麼在此共謀性結構仍然會再生產社會不平等的情況之下,前衛藝術對於藝術整合進生活實踐的訴求就必須轉換為追求政治哲學理論中所探討的政治自由的政治藝術,才能夠對於整個資本主義社會結構產生真正的批判性。

The idea of the autonomy of art was developed by Kant and Schiller at the end of 18th century, then it became the battlecry of “l''art pour l''art” at the beginning of 19th century in French. This famous formula “l''art pour l''art” associated itself only with the concept of “disinterestedness” and “purposiveness without a purpose”, but it never conveyed that sense of that Kant draws the connection between understanding and reason which aesthetic judgment mediates, and that Schiller conceives the social mission which art undertakes, so it finally came about the alienation between art and life. In addition, this kind of alienation has been taken as the negation to society, then as the criticism to society. However, with the model of Marx’s criticism of religion, the pseudo-critique of the negation of the autonomy of art can be revealed. In other words, the autonomy of art is a kind of religious-ideology in “disenchanted” bourgeois society. In 20th century, the autonomy of art became the concept of self-critical tendency which Greenberg pointed out, furthermore, the institutional effects concerning with the autonomy of art can be also found in the analytic aesthetics which is mainly in relation to Danto, Dickie, and Carroll.
Counter to the autonomy of art, it can be analysed with regard to the idea of avant-garde which utopian socialism in 19th century claimed, the “Politicisation of Art” which Benjamin advocated, and the theory of avant-garde which Bürger addressed, they all illustrated the denial of the autonomy of art. With all of them, it can be additionally understood that avant-garde is political art as discontent with the autonomy of art. If Bourdieu’s theory and the doctrine of negative liberty in political philosophy can manifest the complicity among the autonomy of art, neoliberalism, and the production logic in bourgeois society, and so, this complicity structure even reproduces the social inequality, then it seems that the central principle of reintegrating art and life-praxis of avant-garde have to be realized as a kind of political art which pursuits the political liberty in political philosophy, and as an attempt to develop a sincere critical capacity to the bourgeois society as a whole.

目 次

第一章 藝術自主性的確立與「為藝術而藝術」.................1
第一節 藝術自主性的確.....................................1
第二節 「為藝術而藝術」的提出與發展.......................6
第三節 藝術自主性的矛盾與「為藝術而藝術」的論爭...........9

第二章 藝術自主性的美學思想..............................17
第一節 藝術自主性的主體性................................17
第二節 藝術自主性的距離化................................21
第三節 藝術自主性的否定性................................24

第三章 藝術自主性的「自我批判」及其不滿..................29
第一節 走向藝術自主性的現代藝術自我批判..................29
第二節 否定藝術自主性的前衛藝術自我批判..................33
第三節 現代藝術與前衛藝術的差異..........................37

第四章 藝術機制的自主性及其不滿..........................41
第一節 分析美學的藝術機制................................41
第二節 「藝術場」的自主性及其批判........................45
第三節 「機制批判」的文本與創作..........................50

第五章 結論..............................................57
第一節 批判中的批判......................................57
第二節 為自由而藝術......................................62

參考文獻..................................................86

參考文獻

中文部份:
Diana Crane 著,張心龍 譯,《前衛藝術的轉型》,臺北市:遠流出版社,1996。
什克洛夫斯基 等著,方珊 等譯,《俄國形式主義文論選》,北京:三聯書店,1989。
皮埃爾.布迪厄 著,劉暉 譯,《藝術的法則》,北京:中央編譯出版社,2001。
朱光潛 著,《西方美學史》,北京:人民文學出版社,2002。
西美爾 著,陳戎女、耿開君、文聘元 譯,《貨幣哲學》,北京:華夏出版社,2002。
安娜.馬丁─菲吉耶 著,杭零 譯,《浪漫主義者的生活(1820~1848)》,山東:山東畫報出版社,2005。
伯林 著,胡傳勝 譯,《自由論(《自由四論》擴充版)》,南京:譯林出版社,2003。
邦雅曼.貢斯當 著,閻克文、劉滿貴 譯,《古代人的自由與現代人的自由》,上海:上海人民出版社,2005。
克利 著,雨芸 譯,《克利日記選》,臺北市:藝術家出版社,1980。
阿多諾 著,王柯平 譯,《美學理論》,成都:四川人民出版社,1998。
周小儀,〈“為藝術而藝術“口號的起源、發展和演變〉,《外國文學》,2002年3月(第2期)。
周憲 譯,《激進的美學鋒芒》,北京:中國人民大學出版社,2003。
韋伯 著,康樂、簡惠美 譯,《韋伯作品集XII:新教倫理與資本主義精神》,桂林:廣西師範大學出版社,2007。
馬爾庫塞 著,李小兵 譯,《審美之維:馬爾庫塞美學論著集》,北京:三聯書店,1989。
席勒 著,徐恒醇 譯,《美育書簡》,北京:中國文聯出版公司,1984。
康德 著,鄧曉芒 譯,《判斷力批判》,北京:人民出版社,2002。
張旭春 著,《政治審美化與審美的政治化》,北京:人民出版社,2004。
培德.布爾格 著,蔡佩君、徐明松 譯,《前衛藝術理論》,臺北:時報文化,1998。
達巍、王琛、宋念申 編,《消極自由有什麼錯》,北京:文化藝術出版社,2001。
蘇國勛、劉小楓 主編,《二十世紀西方社會理論文選 IV—社會理論的政治分化》,上海:上海三聯書店,2005。
讓—弗朗索瓦.利奧塔 著,羅國祥 譯,《非人—時間漫談》,北京:商務印書館,2000。

外文部份:
Aidan Day. (1996). Romanticism. New Yok: Routledge. (1996).
Alexander Alberro and Blake Stimson. (Ed.). Institutional Critique: an Anthology of Artist’s Writings. UK: MIT Press. (2009).
Alexander G. Baumgarten. (1950). Ästhetik Teil I‧§§ 1~613(Lateinisch - Deutsch). Hamburg: Felix Meiner Verlag GmbH. (2007).
Algernon Swinburne. (September 6, 1862). Charles Bauselaire: Les Fleurs du Mal. The Spectator. No. 1748.
Algernon Swinburne. (1868). William Blake, a critical essay. London: John Camden Hotten, Piccadilly.
Anne Rorimer. (1990). Michael Asher: Context as Context. Texte zur Kunst. (1990). (http://web.mit.edu/allanmc/www/asher1.pdf)
Arnold Hauser. (1951). The Social History of Art VOLUME IV. London: Routledge & Kegan Paul. (1962, translated by Stanley Godman).
Arthur Danto. (Oct. 15, 1964). The Artworld. The Journal of Philosophy, Vol. 61, No. 19, American Philosophical Association.
Arthur C. Danto. (1981). The Transfiguration of the Commenplace. London: Harvard University Press. (1981).
Arthur C. Danto. (1986). The Philosophical Disenfranchisement of Art. New York: Columbia University Press. (1986).
Arthur C. Danto. (1992). Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective. New York, Farrar Straus Giroux. (1992).
Arthur Schopenhauer. (1819). Die Welt als Wille und Vorstellung. Stuttgart: Philipp Reclam jun. GmbH & Co. (1987).
Benedetto Croce. (1921). The Essence of Aesthetic. London: William Heinemann. (1921, translated by Douglas Ainslie).
Benjamin Buchloh. (2000). Neo-Avantgarde and Culture Industry. USA: Massachusetts Institute of Technology. (2000).
Bernard Bosanquet. (1915). Three Lectures on Aesthetic. London: Macmillan and Co., Limited. (1923).
Brian O’Doherty. (1999). Inside the White Cube: The Ideology of the Gallery Space. London: University of California Press, Ltd. (1999).
Charles Harrison, Paul Wood, Jason Gaiger. (Ed.). Art in theory, 1815~1900: An Anthology of Changing Ideas. UK: Blackwell Publishing Ltd. (1998).
Charles Taylor. (1995). Philosophical Arguments. USA: Harvard University Press. (1995).
Charles Taylor. (1979). What’s Wrong with Negative Liberty. Philosophy and the Human Sciences: Philosophical Papers 2. UK: Cambridge University Press. (1985).
Clement Greenberg. (1939). Avant-Garde and Kitsch. In Charles Harrison & Paul Wood (Ed.). Art in Theory 1900~2000: An Anthology of Changing Ideas. London: Blackwell Publishing. (2002).
Clement Greenberg. (1965). Modernist Painting. In Francis Frascina & Charles Harrison (Ed.). Modern Art and Modernism: A Critical Anthology. London: Harper & Row Ltd. (1982).
Clive Bell.(1914). Art. New York: Frederick A. Stokes Co. (1914).
David Frisby. Die Moderne als ewige Gegenwart. Wiedenbrück: Daedalus Verlag. (1989, aus d. Engl. Von Adriane Rinsche).
Dipti Desaj & Jessica Hamlin & Rachel Mattson. (Ed.). History as Art, Art as History: Contemporary Art and Socail Studies Education. New York: Routledge. (2010).
Donald D. Egbert. (Dec., 1967). The Idea of “Avant-garde” in Art and Politics. The American Historical Review, Vol. 73, No.2.
Edward Bullough. (1912). ‘Psychical Distance’ as a Factor in Art and an Aesthetic Principle. In Stephen David Ross (Ed.). Art and its Significance:An Anthology of Aesthetic Theory. Albany: State University of New York Press. (1984).
Friedrich Schiller. (1793). Kallias oder über die Schönheit / Über Anmut und Würde. Stuttgart: Philipp Reclam jun. GmbH & Co. (1971).
Friedrich Schiller. Über die ästhetische Erziehung des Menschen. Stuttgart: Philipp Reclam jun GmbH & Co. (2000).
Georg Simmel. (1900). Philosophie des Geldes. Frankfurt am Main: Suhrkamp Verlag. (1989).
Georg Simmel. Soziologische Aesthetik. Georg Simmel/Gesamtausgabe/Band 5. Frankfurt am Main: Suhrkamp Verlag. (1992, herausgegeben von Otthein Rammstedt).
George Dickie. (1974). What is Art: An Institutional Analysis. In Steven Cahn & Aaron Meskin (Ed.). Aesthetics: A Comprehensive Anthology. UK: Blackwell Publishing Ltd. (2008).
George Dickie. (1997). The Art Circle: A Theory of Art. USA:Chicago Spectrum Press. (1997).
George Sand. (1872). In Raphaël Ledos de Beaufort (Trans.). Letters of George Sand Vol. III. New Yok: Cosimo, Inc. (2009).
Herbert Marcuse. (1937). Über den affirmativen Charakter der Kultur. Kultur und Gesellschaft I. Frankfurt am Main: Suhrkamp Verlag. (1965).
Hugo Münsterberg. (1905). The Principles of Art Education. New York, Boston, Chicago: The Prang Educational Co. (1905).
Immanuel Kant. (1790). Kritik der Urteilskraft. Hamburg: Felix Meiner Verlag. (2001).
Isaiah Berlin. (1958). Two Concepts of Liberty. In Henry Hardy (Ed.). Liberty: Incorporating Four Essays on Liberty. New York: Oxford University Press. (2002).
James McN. Whistler. (February 20, 1885). Ten O’clock. Public Lecture at Prince’s Hall, Piccadilly. (http://www.whistler.arts.gla.ac.uk/miscellany/tenoclock/)
James McN. Whilstler. (1892). The Gentle Art of Making Enemies. London: W. Heiemann.
Jasmine Moorhead. (Ed.). Listen, Here, Now: Argentine Art of the 1960s: Writings of the Avant-Garde. New York: Produced by the Department of Publications, The Museum of Modern Art. (2004).
Jean-FranCois Lyotard. (1988). The Inhuman: Reflections on Time., California: Stanford University Press. (1991, translated by Geoffrey Bennington & Rachel Bowlby).
Jennifer Sandlin & Brian D. Schultz & Jake Burdick. (Ed.). Public Pedagogy: Education and Lerning Beyond Schooling. New York: Routledge. (2010).
John Wilcox. (Jun., 1953). The beginnings of L’art pour L’art. Journal of Aesthetics and Art Criticism. Vol. 11, No. 4. Special Issue on the Interrelations of the Arts.
Karl Marx. (1843). Zur Kritik der Hegelschen Rechtsphilosophie. Einleitung. Karl Marx Frühe Schriften / Erster Band. Darmstadt: Wissenschaftliche Buchgesellschaft. (1989, herausgegeben von Hans-Joachim Lieber, 5., unveränderte Auflage).
Lawrence Abt & Leopold Bellak, (Ed.). Projective Psychology. New York: Alfred A. Knopf. (1959).
Maurice Denis. (1890). Définition du néo-traditionnisme. In Charles Harrison, Paul Wood, Jason Gaiger (Ed.). Art in Theory 1815~1900: An Anthology of Changing Ideas. UK: Blackwell Publishing Ltd. (1998).
Matei Călinescu. (1987). Five Faces of Modernity. USA: Duke University Press. (1987).
Max Weber. Wissenschaft als Beruf 1917/1919. Max Weber Gesamtausgabe/ Band 17. Tübingen: J.C.B. Mohr(Paul Siebeck). (1992, herausgegeben von Horst Baier).
Max Weber. (1904-1905). Gesammelte Aufsätze zur Religionssoziologie von Max Weber. Tübingen: J.C.B. Mohr(Paul Siebeck). (1947).
Morris Weitz. (Sep., 1956). The Role of Theory in Aesthetics. The Journal of Aesthetics and Art Criticism , Vol. 15, No. 1.
Noël Carroll. (2001). Beyond Aesthetics. New York: Cambridge Press. (2001).
Oscar Wilde. (1891). The Picture of Dorian Gray. USA: The Pennsylvania State University. (2006).
Oscar Wilde.(1891). The Works of Oscar Wilde. New York: Lamb Pub. Co. (1909).
Paul Wood. (2002). Modernism and the Idea of the Avant-Garde. In Paul Smith & Carolyn Wilde (Eds.). A Companion to Art Theory. UK: Blackwell Publishers Ltd. (2002).
Peter Bürger. (1974). Theorie der Avantgarde. Frankfurt am Main: Suhkamp Verlag. (1974).
Pierre Dupont.(1851).Chants et Chansons : (poésie et musique).Paris: Chez l’éditeur.
Pierre Bourdieu. (1979). Distinction: A Social Critique of the Judgement of Taste. USA: Harvard University Press. (1984, translated by Richard Nice).
Pierre Bourdieu. (1993). The Field of Cultural Production. USA: Columbia University Press. (1993).
Pierre Bourdieu. (1986). The Forms of Capital. In John G. Richardson (Eds.). Handbook of Theory and Research for the Sociology of Education. USA: New York: Greenwood Press. (1986).
Pierre Bourdieu. (Spring 1989). Social Space and Symbolic Power. Sociological Theory, Vol. 7, No. 1. p. 21.
Pierre Bourdieu. (1992). The Rules of Art — Genesis and Structure of the Literary Field. USA: Stanford University Press. (1996, translated by Susan Emanuel).
Renati Poggioli. (1962). The Theory of Avant-Garde. Translated from the original Italian edition Teoria dell''arte d''avanguardia (Società editrice il Mulino, 1962), USA: President and Fellows of Harvard College. (1994).
Richard Bourke. (1993). Romantic Discourse and Political Modernity: Wordsworth, the Intellectual and Cultural Critique. London: Harvester Wheatsheaf. (1993).
Roger Fry. (1920). Vision and Design. London: Chatto & Windus. (1920).
Theodor W. Adorno. (1970). Ästhetische Theorie. Theodor W. Adorno Gesammelte Schriften Band 7, Frankfurt am Main: Suhrkamp. (1996).
Théophile Gautier. (1835). Mademoiselle de Maupin. Paris : Georges Cres et Cie Les Maitres du Livre 21, rue Hautefeuille, 21.
Théophile Gautier. (1832). Oeuvres de Théophile Gautier. Paris : Alphonse Lemerre, Editeur.
Théophile Gautier. (1847). Revue des Deux Mondes. T.19.
Walter Benjamin. (1936). Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. Frankfurt am Main: Suhrkamp Verlag. (1977).
Walter Benjamin. Addendum to “The Paris of the Second Empire in Baudelaire”. Charles Baudelaire:A Lyric Poet in the Era of High Capitalism. Printed and bound in Great Britian by Biddles Ltd, Guildford and King’s Lynn. (1989, translated by Harry Zohn).
Walter Pater. (1873). The Renaissance. New York: Random House. (1950).
Wilhelm Worringer. (1907). Abstraktion und Einfühlung. München: R. Piper & Co. Verlag. (1921).
Wladyslaw Tatarkiewics. (1975). A history of six ideas: an essay in aesthetics. Warszawa: Polish Scientific Publishers. (1980, translated by Christopher Kasparek).

QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top
系統版面圖檔 系統版面圖檔