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題名 | 當代文化產業背景下藝術創新的「推極」傾向:南朝詩人鮑照的啟示=The Extreme in Art Innovation at the Background of Contemporary Culture Industry: Inspiration from the Poet Bao Zhao of the Southern Dynasties |
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作者 | 林童照; | 書刊名 | 文化創意產業研究學報 |
卷期 | 2:1 2012.03[民101.03] |
頁次 | 頁99-107 |
分類號 | 541.253 |
關鍵詞 | 文化產業; 藝術創新; 推極; 鮑照; Culture industry; Art innovation; Extreme; Bao Zhao; |
語文 | 中文(Chinese) |
中文摘要 | 文化產業使精神產物商品化的現象日趨明顯,大量複製、規格化的生產,使精神產物也失去個性。然而藝術作品就其為藝術而言,卻無法失去個性而存在,這使得當代藝術在維持其個性上形成困境。南朝詩人鮑照雖非身處文化產業的時代,但面臨詩人個性隱沒之困境與當代類似,其突破困境以成就地位的手法,竟也與當代藝術家十分相近,可成為在當代文化產業背景下考察藝術發展的角度。透過古今的對比,可以發覺在材質媒介上的「推極」,能使藝術品具有「聳動」的效果,因此即便失去了個性,仍可因藝術家個人獲得了觀眾的目光而顯得「獨特」。此由「推極」所造成的「聳動」,也因此成為了個性,成為藝術存在的因素。 |
英文摘要 | Contemporary culture industry nowadays commercializes the spiritual brainchild of artists and thus deprives their distinguishing characteristics. Without such characteristics, contemporary art can never exist. The poet Bao Zhao of the Southern Dynasties, although not in modern time, was faced with the situation similar to contemporary artists. Bao Zhao's strategy for solving this dilemma was to extremely distort the creation medium for his literary works. This made his works extraordinary and attracted the attention of the reader of his day, which stands out the status of the creator. In doing so, he seemed to have won his distinguishing characteristic back. Therefore, the extreme in art innovation can be employed both in ancient poetry and in contemporary art. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。