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題名 | 阿多諾的藝術真理趨向=On Adorno's Verities of Art |
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作者 | 陳瑞文; Chen, Zuei-wen; |
期刊 | 高雄師大學報 |
出版日期 | 20020400 |
卷期 | 13 2002.04[民91.04] |
頁次 | 頁127-147 |
分類號 | 188、188 |
語文 | chi |
關鍵詞 | 真理; 本能; 美感; 和解; 超驗; Verity; Nature; Aesthetics; Reconciliation; Transcendence; |
中文摘要 | 本文旨在闡釋阿多諾論證現代藝術之真理內容。阿多諾的立論主要基於,一方面現代藝術之謎樣形象為虛構的烏托邦,起於藝術家在工業社會體制下,拒絕被物化,不得不遁入虛擬世界,經解自己某些不符合體制之行為,或宣洩被拒曲和壓制的慾望;烏托邦世界,因而是藝術家衝破現實規範,叛逆文明,避開社會價?,一種經解意志力的存在姿態。 另一方面,現代作品的烏托邦特質,凸顯出「回憶」的重要性,阿多諾的「回憶」是一種批判文明的詮釋動作。「回憶」,便是對現代藝術所以進入非理性模擬之文他深層原因的體悟過程,涉及到俗世經驗、社會集體特徵與本能解放等醒悟的新文化視域。 |
英文摘要 | This paper explores Adorno's two-phased verities of modern art. On the one hand, Adorno proposed that the enigmatic image modern art presents is a Utopia created by the artists who refused to be materizlized in the industrial society. They escaped into their virtual worlds to rationalize ther behaviors and to fulfill their suppressed desires. Thus, Utopia exists as the artists rebelled against norms, civilization, societal value, and pressure of will. On the other hand, the Utopian characteristics of modern art reflect the importance of "recall." For Adorno, "recall" is a way to criticize civilization. It is the process of how modern art penetrates into the deep phase of the irrational mimic of the culture. It presents a new vision of disenchantment is relation to one's world experience, society's unified characteristics and self-liberation. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。