艺术终结问题——兼论后现代视阈下丹托艺术终结论与《溺水的巨人》的意义同构  

The Postmodern Perspective of“The End of Art”——The Final Conclusion of Danto’s Art from a Postmodern Perspective Isomorphic to the Meaning of The Drowning Giant

作　　者：徐维聪 XU Weicong

机构地区：[1]四川大学

出　　处：《吉林省教育学院学报》2022年第11期183-186,共4页Journal of Jilin Provincial Institute of Education

摘　　要：自阿瑟·丹托发表《艺术的终结》以来,关于“艺术终结论”的讨论一直延续至今。本文简要梳理黑格尔和丹托的“艺术终结论”概念,强调终结之后的艺术在多元客观主义引导下的后历史阶段中重生的观点。通过分析短片《溺水的巨人》中巨人身体的变化,解读丹托的艺术终结及二次终结理论。巨人衰变与被肢解的过程,蕴含了艺术的终结和重生的问题。并从布达佩斯学派个体艺术的审美功能角度,强调艺术终结之后多元主义下的个体艺术的审美价值。Since Arthur Danto published the End of Art, the discussion about the "End of Art" has continued to this day. This article briefly sorts out Hegel and Danto’s "end of art", and emphasizes the rebirth of art after the end in the post-historical stage guided by multiple objectivism. By analyzing the changes of the giant’s body in the short film "Drowning Giant", interpret Danto’s theory of artistic end and the second end. The process of the decay and dismemberment of giants contains the issue of the end and rebirth of art. And from the perspective of the aesthetic function of the individual art of the Budapest School, it emphasizes the aesthetic value of the individual art under pluralism after the end of art.

关 键 词：艺术终结 《溺水的巨人》 布达佩斯学派 

分 类 号：J0-02[艺术—艺术理论]