“艺术界”理论视野中的“授予说”研究-艺术学专业论文.docxVIP

I I II II 摘 要 “艺术的定义”问题一直是美学理论的重要问题之一。随着现代艺术的出现， 新的艺术实践不断挑战着传统艺术定义的边界，艺术和非艺术的区别就成为美学 家们无法回避的难题。当代艺术哲学家迪基提出艺术的体制论，作为其核心的“授 予说”提供一种很有见地的界定艺术的方式。迪基的理论主要基于丹托的“艺术 界”理论，而丹托的概念则显然指向艺术的文化社会学维度。本文的研究以“授 予说”为核心，结合“艺术界”理论以及贝克、布迪厄等人的文化社会学视角， 一方面从相对微观的角度，即艺术品的生产、传播、消费过程中，来考察一个特 定时期的艺术界如何“授予”艺术品资格，另一方面从相对宏观的历时性角度， 考察艺术史中不同时期的艺术界如何“授予”艺术品资格。本文梳理剖析“授予 说”并将它应用于个案分析，希望不仅能借此透视艺术体制的运行机制，还能提 供一种可资利用的话语平台，给我们界定艺术、理解艺术作品提供一种新的理论 视域。 关键词：艺术界，授予说，艺术品资格，艺术的定义 ABSTRACT The definition of art has always been one of the central issues in aesthetic theory. With the advent of modern art, the traditional definition has been challenged by the new artistic practice, and the distinction between art and non-art becomes a conundrum which no aestheticians can afford to avoid.Contemporary art philosopher George Dickie proposes an institutional theory of art, whose notion of “status conferring” proves to be an insightful approach to the definition of art. Dickie’s theory is primary developed from Arthur Danto’s concept of “artworld,” while Danto’s concept readily points to the cultural sociological dimension of the art. The present study is primarily based on Dickie’s notion “status conferring,” while it also make use of Danto’s theory of the artworld and the cultural sociological perspectives of Howard Beck and Pierre Bourdieu.On the one hand, the study examines how the status of artwork is conferred in the artworld, that is, how the artwork is produced, circulated and consumed in a particular time. On the other hand, the study investigates from a macro and diachronic perspective how the artworld in different periods in art history conferred the status of art. The study delineates Dickie’s notion of status conferring and applies it into the case study of Shanghai Biennial exhibition. The study hopes to illuminate the working mechanism of the art institution, and also to provide a discursive platform so that a new theoretical horizon is constructed for the definition and understanding of art. Keywords：