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德国对世界艺术的研究可以追溯到19世纪80年代到90年代,相关著作有文化人类学和心理学的跨学科语境。当时的德国艺术史家关注原始艺术,不仅仅是“殖民思维”的结果,更由于德国艺术史面临着方法论危机和制度性危机。民族心理学和人类学为艺术研究提供了心理学基础,为1900年左右的世界艺术史提供了核心动力。德国的人类学、心理学以及关于文化进化的相关讨论,影响了新生的艺术学科的地位。然而,德语学界对世界艺术史的开端性研究极少得到国际性关注,甚至在1930年以后被彻底遗忘,这是在德国内部开始的。究其原因,诸民族学目标的变化,魏玛共和国上升的民族主义以及精神科学的普遍危机,特别是20世纪30年代纳粹开始干预学术研究,导致了这种状况。有意思的是,1900年和2000年,德国世界艺术史的体制条件显得相似,如果说最初的问题是在大学里创立艺术史/艺术科学,今天则是艺术史要在一些更新的,据称更为跨学科的领域争得一席之地。
Germany’s study of world art dates back to the 1880s and 1890s, with interdisciplinary contexts of cultural anthropology and psychology. German art historians at the time concerned about the original art, not only the result of “colonial thinking”, but also because of the German art history is facing a crisis of methodology and institutional crisis. Ethnic psychology and anthropology provided the psychological foundation for artistic research and provided the core motivation for the world art history around 1900. Anthropology, psychology and related discussions of cultural evolution in Germany have affected the status of the nascent art disciplines. However, the German academic world has barely received international attention for the beginning of the world history of art, and even was completely obliterated after 1930, beginning within Germany. This is caused by the reasons for the change in ethnology goals, the rising nationalism in the Weimar Republic, and the general crisis in psychosocial science, particularly the Nazis’ intervention in academic research in the 1930s. What is interesting is that in 1900 and 2000, the institutional conditions for German art world history seemed similar. If the initial problem was to create art history / art science in universities, today art history should be updated. To gain a place in the interdisciplinary field.