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当今西方的艺术定义以分析美学为主导,逐渐成为主流的是功能性、程序性与历史性三种艺术定义方式,以比尔兹利的审美定义、迪基的惯例理论与列文森的历史主义为代表,而高特新近提出的“丛概念”定义则继续着开放性之路。然而,非西方艺术定义却从伊顿开始,在戴维斯那里得以确立,并得到达顿的继续拓展。从非西方拓展艺术定义,启发了一种“全球性”艺术定义的可能性,但这种回到人类学的新构,仍要超越西方—非西方的非此即彼的思维方式。
Nowadays, the definition of art in the West is dominated by analytical aesthetics and gradually becomes the mainstream in the way of definition of function, procedural and historic three art forms. With Beardsley’s aesthetic definition, Dickey’s conventional theory and Levinson’s historicism As representative, and the concept of “plexus” newly proposed by Gaote is continuing the path of opening up. However, the definition of non-Western art began with Eaton, established in Davis, and continued to grow with Darden. Expanding the definition of art from a non-Western perspective has inspired the possibility of a “global” art definition, but this new approach to anthropology still goes beyond Western or non-Western ways of thinking.