【作者】 孙晓霞；

【导师】 李心峰；

【作者基本信息】 中国艺术研究院 ， 艺术学， 2009， 博士

【摘要】 在艺术学、美学理论转向文化研究的今日，语境研究作为一种重要的研究方法受到广泛关注，语境也成为文化研究的焦点。但事实表明，尽管在理论界随处可见关于语境的表述，人们对语境、语境理论、艺术语境研究等关键概念的把握并不很清晰，形成了“泛语境化”的话语时尚，大多数理论并未真正关涉到艺术语境的本体问题。因此，深入并系统地研究艺术语境，以此对艺术进行新的解读，这是扫除当下对艺术语境认知蔽障，使语境理论在方法论上的意义和价值在艺术研究中得以有效应用的唯一出路。要对艺术语境进行具体研究，就必须首先明了作为方法论的语境理论自身。针对以往语境理论中的相对主义、无边界等不可知论特征，本文通过历史梳理和辨析，发现语境具有可限定性、层次性、结构性等可研究的理论特性，打破了语境研究的理论困境。其后，文章重点考辨了艺术理论中不同语境观的理论贡献和视域局限，从中发现艺术语境是一个有内在逻辑联系的系统，其基本构成是一个由艺术品文本、艺术生产语境层、艺术的社会语境层构成的层层包含的、同心圆式结构。文章进一步对艺术语境的历史特征和生成规律进行观测和描述，并分析了当代“艺术日常生活化”和“日常生活艺术化”这两种逆向活动的艺术语境特征，论证了这两种貌似趋合的艺术走向其实是两种截然不同的艺术存在方式，进而从语境研究的视角对当代艺术实践及其历史走向等进行了解答，证实了艺术语境研究在当代艺术实践和理论发展中的重要性。最后文章强调，在注重语境研究的文化研究转向中，在遭遇解构后重新寻找秩序的理论诉求中，积极研究艺术的语境结构并通过语境形态来理性地分析具体艺术问题，这不仅是艺术理论发展的逻辑必然，也是在文化全球化态势中，各民族艺术在保有本土语境特征的同时又能更多还原

【Abstract】 With the development of Cultural studies, context theory emerged as a prevalent method of Art Studies which put in question the context of art generously. However, we found that the word of ’context’ used to be used as an ambiguous representation though it appears here and there in Arts Studies. In fact, when talking about the conceptions of context, such as text, context, context theory or research on art context, and so on, few people can interpret them explicitly. Most of them are used as a kind of fashionable statements. There is no guarantee that the consciousness of art context studying will be either theoretically correct or effective. So if context theory seeks to contribute to finding the way out of the contemporary crisis of art, it must itself develop a new perspective.To provide an antidote to the frequently non-ontology art context studying, we must ascertain the theory itself firstly. As a kind of theoretical method, context theory is itself flawed, namely, nihilism, relativism and agnosticism. As a result, it’s hardly conceivable that this theory can help us to resolve many of the critical problems that we currently faced in Arts Studies. Nevertheless, by researching on the history of context theory we are informed that the boundary of context can be limited, it’s structure is also relatively stable, unambiguous and self-organized, these features make it available in study, then the dilemma of context theory is eliminated fundamentally.Every one knows that as better tomorrow depends on building on the best of yesterday and new theories should appreciate the most valuable legacies of the heritage of contemporary context theory in arts studies. So in the second part of this paper, we observe the various context theories (and contextualism) which proposed by different aesthetics groups, and distinguish each of their contributions and limitations. Therefore, we organize them logically into a studying system. Now the paper designed a three layered homocentric circles as the mode of art context studying. Applying this mode, we historically investigate the structural features of art context at various periods, so that we summarize the law of the development of art history in a contextualized perspective.Furthermore, by inspecting the structural characteristices of contexts of daily life things shift into arts and art for daily life (art for daily life embraces the aesthetics of practical craftsmanship as well as of the aesthetics of land use patterns and collaboratively designed and created human-nature interfaces) which emerged in contemporary art practicing more exactly and specifically, the paper attested the validity of this very mode. Finally, the paper explained the phenomenon of context interlacing and re-contextualizing in art practicing by applying the mode.All in all, to fulfill the goal of rediscovery a rational ordering for Art Studies, the paper takes an in-depth study on context theory and deploys it to interpretation the problems of contemporary art reasonably. Studies have proved that the mode of three-layer structure for art context studying is not only necessary but effective. In fact, we believe that, in the great wave of cultural globalization, this procedure would be in accord with the logic of the development of art theory as well as with the direction of future arts which demands artists keeping local context while concerning the world outside of him. In addition, using context theory to solve the theoretical and practical problems which confront art today would be also full of the most valuable theory for the enlightenment of the Chinese art.更多还原