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艺术的模仿理论历来都被看作是对艺术的本质进行解释和评价的最为古老的一种理论,而柏拉图的模仿理论正是其发端,他最早用模仿这一术语从哲学的角度来讨论和评价艺术作品,从而建立起了艺术模仿论的基础,并在后世一直延续了下来。时至今日,艺术模仿论看上去多少有点过时了,然而,今天经常使用的不少现代的和后现代的艺术理论及批评术语事实上却并没有全然脱离与模仿的关系,而是在模仿论的结构范式基础上发生了进一步的延续与拓展。本文的目的就是清理柏拉图模仿理论所建立起的两个基本范式,并由此出发,在模仿与那些今天经常在艺术理论和批评中使用的现代的以及后现代的理论术语和概念之间建立起联系,勾勒出模仿论范式的当代理论进路。
The theory of imitation of art has traditionally been regarded as the oldest theory to explain and evaluate the essence of art. Plato’s theory of imitation is just the originator of this theory. He first used the term imitation to discuss philosophically Evaluation of works of art, thus establishing a basis for the art of imitation theory, and later in life has continued. However, the contemporary and postmodern art theories and criticisms often used today are not completely separated from imitation. Instead, they are based on the theory of imitation Based on the structure of the paradigm of further continuation and expansion. The purpose of this paper is to clear up the two basic paradigms established by Platonic’s theory of imitation and, from that, to establish a relationship between imitation and modern and postmodern theoretical terms and concepts that are often used in art theory and criticism today Contact, outline the theoretical approach to the paradigm of imitation.