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在艺术批评史上,风格、形式、美学等常规批评范式具有强大的言说能力。但就器物文化而言,风格批评却人为地区分了形式与内容的边界,形式批评在机械形式中控制对象的内容展开,美学批评在审美想象中忘却物体系的真实存在,这些被固化或声誉不佳的批评困境已然对传统批评范式的普适性构成严重挑战。从某种程度上说,角色、情境、互动、界限等具有间性特征的批评范式俨然显示出新的叙事生命力。间性批评不仅尊重时空的对话逻辑,还倚重界限以及他者文化,并以开放的立场拓宽了艺术批评的话语疆域,使之与常规批评范式在间性区域内相互补,从而顺应艺术批评的健康发展。
In the history of artistic criticism, the conventional criticism paradigms such as style, form and aesthetics have powerful speech ability. However, in terms of the culture of utensils, style criticism artificially separates the boundaries of form and content. Formal criticism expands the content of the controlled objects in the mechanical form. Aesthetics criticizes the true existence of the system of objects in the aesthetic imagination, which is cured or reputational The poor critical plight already constitutes a serious challenge to the universality of the traditional paradigm of criticism. To some extent, the paradigm of criticism with the characteristics of interpersonal relations, such as roles, situations, interactions and boundaries, seems to show a new narrative vitality. Intercritical criticism not only respects the dialectical logic of time and space but also relies on boundaries and other cultures and broadens the boundaries of the discourse of artistic criticism from the standpoint of openness so as to complement the conventional criticism paradigm in the interregional area so as to conform to the artistic criticism healthy growth.