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张素琴、刘建合著的《舞蹈身体语言学》指出:从形态的面貌结构来看,大传统舞蹈文化中的形态有三种:生活形态舞蹈、规训形态舞蹈和作品形态舞蹈,它们相互联系又相互区别。阿多诺从社会学角度意识到:“由于艺术不同于世俗现实,它否定性地体现出事物的秩序,艺术中的经验存在将会获得其恰当的地位。艺术的奥秘在于其去神秘的力量,艺术的社会本质需要双重的思考:一是艺术的自我存在,一是艺术与社会的关系。艺术的这种
Zhang Suqin and Liu Jian co-authored ”Dancing Body Linguistics“, pointing out that there are three forms in the large traditional dance culture: morphological dance in life, dance in disciplinary form and dance in artistic form, which are interrelated and distinguished from each other . Adorno, from a sociological point of view, realized: ”Because art is different from secular reality, it negatively reflects the order of things, and the existence of artistic experience will gain its proper place. The secret of art lies in its mysterious Strength, the social nature of art need to think twice: one is the existence of art, and the other is the relationship between art and society.