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題 名 | 後現代藝術的表現形式及其美育蘊意=Postmodern Artforms and It's Aesthetic Implication |
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作 者 | 王俊斌; | 書刊名 | 國教學報 |
卷 期 | 12 2000.07[民89.07] |
頁 次 | 頁1-20 |
分類號 | 901 |
關鍵詞 | 後現代藝術; 表現形式; 美育; 解構; 擬象; 審美式存有; Postmodern arts; Artistic forms; Artforms; Forms of arts; Performance of arts; Education of arts; Deconstruction; Simulation; The aesthetics of existence; |
語 文 | 中文(Chinese) |
中文摘要 | 本研究係以後現代性的哲學角度來探討現行美育的問題,並且對美育再出發的可能提出反思。首先、就後現代的藝術理念來看,他們反對現代主義僅將作品視為作者主觀的意念或情緒投射;相反的,他們主張創作性思考在創作中的主導地位,亦即,後現代在「不確定」的前提下,追求一種能準確表現多元與多變之人類圖像的藝術形式。 其次、檢視後現代藝術創作的理念,其立場主張創作者可以毫無拘束地虛構一切,這樣的出發雖然帶有無政府主義的傾向.但是它卻也促使藝術創作比現代主義更具備了內容的隨意性、不連貫性、矛盾性、非結構以及表示世界的不可解釋性等方面特質,這些方面它是與正統現代主義的藝術理念大相逕庭。 後現代主義值得肯定之處即在於注重藝術題材的社會性,這與正與現代性注重整體感或和諧性不同,其目的即以回到更有「人性」的藝術為著眼。簡言之,後現代藝術正是源於對現代性的不滿。對於藝術的表現形式而言,本研究從以下四個角度──「時空概念的問題化與符號化」、「解構式的創作與閱讀──文本 (藝術品)的歧異與增生」、「擬象秩序與主體性困境」以及「審美式的存有與畫作原意的論爭」等一一分析後現代式表現形式的立場。 最後,後現代藝術的特質關鍵應是從帶有主觀唯心象彩的「象徵主義」 ( Symbolism )轉化為否定「既定道德與美學」的「達達主義」(Dadalism)、創作的 態度則由嚴肅的理想性轉化為隨性式的遊戲、觀眾與藝術品的關係也由觀眾參與的解構式閱讀取代固定文本的詮釋。就美術教育而言,當我們在區分出創作與鑑賞等兩個不同視角時,創作或技法的指導教學,基本上仍必須有其教學的目的性與計畫性,它不能是毫無章法的隨興遊戲,可是它叉不能使美育淪為一種純然「再現」的歷程。省思國內現行美術教育在課程權力空間中的形式化與附屬化地位,筆者認為美術或美勞課程它應該走出課程之外,將美育涵育為對學生生命與情感的陶冶。另外,若就鑑賞的角度,它所強調的應該是一種反單一標準的美育或美感形式之生活教育。 |
英文摘要 | This paper is to discuss and reexamine the problem of present education of arts in postmodern philosophical perspective, and to anticipate a possible future of the education of art. Firstly, in contract to the modernist viewpoint that sees works of art as the subjective projection of authorial idea or emotion, the idea of postmodern art asserts the leading role of creative thinking in the creation of arts. In other words, under the premise of "uncertainty", it attempts to pursue a precise form of arts (藝術形式) to perform the diversity and variety of human image. Secondly, with its anarchistic assertion of the creator's free fabrication of arts, the idea of postmodern creation of art is totally different from the orthodoxical idea of modern art in that the former has its content characteristic of randomness, discontinuity, contradiction, non-structure and the proclaimation of the unexplicability of the world. Postmodernism is affirmative on it's emphasis on the social aspect of the raw materials. Different from the modernist focus of totality and harmony, postmodernism concerns to return to more "human" art presentation. Briefly, postmodern art exactly results from its discontent with modernity. This paper attempts to analyze the positioning of postmodern performance of art from the four perspectives-"the problematization and signifying of the idea of time and space," "deconstructional creation and reading-the difference and proliferation of texts (works of art)," "the order of simulation and the plight of subjectivity," and "the debate between Aesthetic of Existence and the authorial intention." Finally, the key to understand postmodern arts is shown specifically in its characteristic transiting from the subjective "Symbolism" to "Dadalism" that negates "the established morality and aesthetics;" in its attitude of creation shifting from idealistic sobriety to careless gaming, and in its relationship between audience and works of arts changed from the fixed textual interpretation to deconstrucational reading that allows the participation of audience. Considering the different perspectives of creation and appreciation about the education of arts, creative or technical instruction should follow its goal and schedule proper to teaching; it can't either be an disorderly gaming or a pure "representational" progress in which the education of arts fall under. Reflecting upon the formalistic and subordinate position of the domestic education of arts within the network of power relations at present curricula, the writer suggests that the course of arts should extent beyond the restriction of curricula toward the cultivation of students' life and emotion. Besides, from the perspective of appreciation, it stresses a life education that refuses single standard in education of arts and aesthetic forms. |
本系統中英文摘要資訊取自各篇刊載內容。