学术范式的转换与艺术人类学的学科建构

The Change of Academic Model and the Disciplinary Construction of the Anthropology of Art

文化人类学与文艺美学虽因其研究对象的共域而有着源远流长的交叉互渗研究实践,但却长期滞留于材料移植和理论移植阶段,未能促成艺术人类学学科范式的形成。其主要根源在于两个学科各持一端:一者固守实证主义立场,把艺术视为与生计、交换、政治体制等几乎无差别的社会文化现象进行描述与解读;另一者坚持对从社会文化中孤立出来的艺术及其活动进行思辨的方法,把存在于社会文化之中的艺术悬置起来不予问津。现代主义和后现代主义思潮既解构了理性主义的思辨模式又颠覆了实证主义的绝对真理性,把人及其主体性移置到学术研究的中心,引发了学术范式的转换和知识资源的重组,推动文化人类学与文艺美学在理论和方法上积极互动和深度融合,促成具有学科意义和知识创新能力的艺术人类学学科的诞生。

Though literary aesthetics and the culture anthropology have long shared same research objects, their research has still remained at the stage of material and theoretical transplantation, which failed to form the disciplinary model of the anthropology of art. The main cause lies in the extremes of their standpoints： the one adheres to positivism which regards art as a socio-cultural phenomenon like livelihood, exchange and political system in its description and interpretation; the other sticks to the study of art and its activities separate from its socio-cuhural backgrounds as well as its way of thinking. Modernism and post-modernism, through their deconstruction of the thinking model of rationalism and subversion of the absolute truth of positivism, have brought man and his subjectivity to the focus of academic research, which has resulted in the change of academic model and the reorganization of knowledge resources, promoted the favorable interaction and further fusion between literary aesthetics and cultural anthropology both in theory and in practice, and fostered the disciplinary construction of the anthropology of art with its own significance and knowledge-producing ability.