“大众艺术”与“混合艺术”本体论——三论艺术本体论的最新拓展

The Ontology of Mass Art and the Ontology of Hybrid Artforms: On the New Transformation of the Ontology of Art

当代艺术本体论在西方分析美学那里获得了巨大发展,这与艺术的最新拓展是直接相关的。艺术形态的新变,使得人们对艺术本体的理解发生了变化。美国美学家诺埃尔·卡罗尔开始将艺术本体论的视角转向了大众艺术,他积极反思了"大众艺术本体论"的基本问题,甚至在其大众艺术的基本界定当中就考虑到了大众艺术的本体存在。当今美国著名的分析美学家杰罗尔德·列文森所提出的"混合艺术本体论"认为,并不是所有的艺术形式都是纯粹与彻底的,某些则是混合的,即使是那些纯艺术类型当中,有一些在本质上也是"混合型"的。最终,要真正地确立艺术本体论的立场,还是要回归到"生活美学"来重新勘定:一方面,要去分析人类的"本质性统一",从而寻求一致的人类的统一性;另一方面,要关注每种文化和每个社会的独特性,这就要把文化多样性考虑进艺术本体论当中。

Great development has been undergoing for the Ontology of Art in the backdrop of analytic aesthetics, which paralles the update development of contemporary art.In other words,the transformation of art forms results in the development of ontology of art. American aesthetician Noel Carroll explores ontology of arts in the backdrop of popular arts, and defines the core aspects of popular arts including the ontological exsitence of popular arts. Jerrold Levinson, who proposes The Ontology of Hybrid Art Forms, claims that all art forms are not uniform in genres but hybrid. Even some seemingly uniform art forms are hybrid in nature. From the perspective of the aesthetics of everyday life, we can re-fix our own position in the Ontology of Art. and cultural diversity plays an important role in it. And it is toward to a neo-Ontology of Art, not only in the contexts of globality, but also the the perspective of Chineseness.