【作者】 匡骁；

【导师】 朱国华；

【作者基本信息】 华东师范大学 ， 文艺学， 2013， 博士

【摘要】 本文的研究对象为二十世纪下半叶起源于西方分析美学阵营内关于“艺术定义”之论争的艺术体制理论。从狭义上来说,艺术体制论特指以分析美学家丹托和迪基等人为代表的从分析哲学出发的为艺术下定义的理论；而从广义上讲,艺术体制论也可以是指从体制角度来分析艺术界景观和现象的诸种艺术理论。虽然艺术体制理论在不同研究路径下呈现出不同的面相,但总的来说,它把艺术视为一种体制,将艺术作品和现象置于具体的文化社会背景中加以讨论,将目光从艺术的“本质属性”移向艺术生产、传播、消费和分配过程中所涉及到的制度、行为和各种权力关系,打破了艺术是“纯粹的”这一美学幻象。通过介绍、梳理艺术体制理论的发生、发展和演变,本文揭示了当代美学发展的一个重要的范式转变：从探寻艺术品自身的“本质属性”的内结构思路,转向以探讨作品与其外在历史、社会、文化语境之间关系的外结构研究范式,换言之,传统艺术哲学和美学的本质主义追问“何为艺术”,在艺术体制理论对艺术品资格何以获得的考察中,被置换为“为何为艺术”。艺术体制论的出现表明,传统美学和艺术哲学在当代艺术实践创新与自身理论发展需要的双重压力下,需要从其他学科(如社会学)汲取理论资源的趋势。美学也该从对“美”的过分关注和一统天下的本质主义思路中走出来,摆脱抽象的哲学思辨的束缚,重新关注生活与艺术的融合。论文包括引论、正文和结语三部分。引论部分综合论述了艺术体制理论的界定,研究背景和意义及其国内外研究历史和现状。正文第一章梳理了现代自主性艺术观念的形成以及由此必然出现的本质主义诉求的关系,分析了本质主义界定艺术的路径在面对后现代艺术实践时表现出明显的阐释乏力,而分析美学家们在反本质主义批判中发展出了“艺术不可定义”与从“非显性属性”出发重新界定艺术的两派,后者为艺术体制理论的发生提供了新思路。第二章阐述了分析美学家丹托的“艺术界”理论的发生和发展。在丹托看来,“艺术界”就是由艺术史知识和理论所构成的赋予某物以艺术资格的体制性环境。文章指出,丹托的这一艺术“类定义”引发了“某物何以获得艺术品资格”的问题。本章进而对丹托围绕这一问题而提出的核心概念“艺术指认的‘是’”、建构性阐释以及作为“理由话语”存在的理论氛围等进行了逐一解析,并指出对艺术品资格的判定和建构因素的讨论不应只停留在语言学层面,而应该深入到社会现实语境中去,这一思路在迪基的体制论中得到了继承和延续。第三章讨论了迪基以艺术资格的“授予”为核心概念的早期惯例论。首先分析了迪基如何通过对“审美经验”和“审美态度”的解构为建构价值中立的定义铺平道路。继而分析了迪基如何从“第三种关系属性”(艺术与社会体制系统之间)出发和艺术概念的“分类意义”出发,提出其惯例论的核心内容,即艺术品资格的获得是一种艺术体制对某欣赏对象进行的艺术地位的“授予”过程,艺术体制就是一种惯例性的既定实践体系。第四章主要研究的是迪基后期惯例论以及由此产生的体制论的文化社会学转向。首先概述了分析美学界对惯例论的几种具有代表性的批评。针对这些批评,迪基的艺术哲学思考逐渐从艺术品本体的定义型思维模式转向对艺术界作为文化结构框架的探求。其次,本章对丹托和迪基的艺术体制论之间的异同进行了比较,指出丹托视角中的艺术品所处的“语境”(context)是一种具有形而上学意味的“理论氛围”,而迪基的“惯例论”则比较详尽而实证地阐述了这一背景,因而带有更鲜明的社会学色彩。最后,本章探讨了艺术体制理论在当代分析美学中所引发的文化学转向,指出体制取径已呈现出溢出传统美学所秉持的艺术品本体论视域的趋势,向文化社会学靠拢的趋势。结语部分总结了艺术体制理论的意义和价值,同时剖析了艺术体制理论所揭示的分析美学所面临的困境,指出体制理论引发了当代美学在思考路径上的范式革命。更多还原

【Abstract】 The topic of this research paper centers around the Institutional Theory of Art (ITA) which derives from the discussions about the "definition of art" by some western analytic aestheticians in the second half of20th century. In a narrow sense, ITA refers particularly to the theories advocated by the art philosophers like Arthur Danto and George Dickie, who propose to define art from the external context of artworks. In a broad sense, the ITA is a general term for art theories in various forms which analyze the diverse landscapes and phenomena in art world from the perspective of institutions. Though taking on different forms under different approaches, the ITA generally regards art as an institution, puts artworks and phenomena under the specific cultural and social context, and directs the focus from the "essence" of art to the institutions, behavior and power relations in art production, communication, consumption and distribution, thus breaking the aesthetic illusion of "pure art."By introducing, combing the emergence, development and evolvement of the ITA, this thesis aims to reveal an important paradigm transition in contemporary aesthetics: from exploring the "innate property" of artworks to examining the relations between artworks and its external historical, social and cultural context. In other words, the ITA has changed the essentialist question of traditional art philosophy and aesthetics "what is art?" into "why is it art?" by discussing how the status of art is acquired. The emergence of the ITA indicates that under the double pressure of contemporary art creations and the development of art theory itself, the traditional aesthetics and art philosophy need to draw theoretical resources from other disciplines (such as sociology). Aesthetics should get away from the constraints of metaphysical and abstract philosophical speculations and divert its attention from the obsession with "beauty" and dominating essentialist approach to the fusion of life and art.This thesis consists of the introduction, main body and conclusion. The main body is made up of five chapters. The introduction deals with the definition the ITA, the background, significance and approach of this research as well as the overseas and domestic status of research. Chapter One discusses the connections between the autonomous modern art system and conceptions and artistic essentialism. The essentialist approach to define art has lagged apparently behind the postmodern artistic practice. In anti-essentialism criticism, the analytic aestheticians have developed two schools:art is indefinable and art can be redefined from "non-exhibited properties." The latter school has provided new approach and perspective for the ITA.Chapter Two expounds the "artworld" theory by Danto. In his opinion,"artworld" is the institutional environment composed by artistic history and theory, which endows the object with the status of art. Danto’s "quasi-definition" of art has triggered off the question "how does something acquire its status of art?." This chapter then analyzes the some core concepts concerning this question:the ’is’ of artistic identification, constructive interpretation and discourse of reasons, and indicates that the discussion of the determination and construction of the status of art should not just stay on the linguistic level, but penetrate into the context of social reality. This approach has been carried forward and extended in Dickie’s theory.Chapter Three focuses on the early version of Dickie’s ITA with "conferral" as the core concept. To construct a value-free definition of art, Dickie firstly deconstructs "aesthetic experience" and "aesthetic attitude." Starting from "the third relational property"(art and social institution) and the classificatory sense of art concept, he proposes the core of his ITA:the acquiring of status of art is a process of conferring a qualification to an object for appreciation by art institutions, which is a system of customary and established practice.Chapter Four deals with the later phase of Dickie’s ITA and its cultural sociological turn. Firstly it summarizes some representative criticisms of the ITA among the academia of analytic aesthetics. In response to these criticisms, Dickie turns his research attention from ontological, art-definition-oriented mode of thinking to the study on the artworld as a framework of cultural structure. He employs five mutually interpreted and interdependent definitions, i. e."artist,""artworks,""the public,""artworld system," and "artworld" to form a structural framework of art institutions. This chapter also makes a comparison between Danto and Dickie in their ITA and concludes that while the Danto’s "context" and "background" in which artworks are situated is "atmosphere of theory" with metaphysical implication, Dickie’s ITA further brings the context into a more concrete and empirical area, thus taking on a more sociological meaning. Finally, this chapter discusses the culturological turn in contemporary analytic aesthetics that the ITA has triggered. ITA has demonstrated a tendency of transcending the ontology of artworks held by traditional aesthetics and approaching the culturology and sociology.In conclusion, the thesis analyzes the dilemma confronted by analytic aesthetic revealed by the ITA. The paradigm reform initiated by the ITA shows that the research and speculation on art can not be divorced from the cultural and social context of artworks. To accomplish a sustainable and diverse development, aesthetics and art philosophy must adopt theoretical resources from different disciplines.更多还原