广义认知诗学与中国当代艺术批评的“具身性转向”

Generalized Cognitive Poetics and the Embodied Turn of Chinese Contemporary Art Criticism

在当代认知科学与广义认知诗学的影响下,中国当代美学与艺术批评高度关注审美活动中知觉方式与认知机制的“具身性转向”问题。中国当代批评家运用西方当代广义认知诗学“具身认知”理论较为深入地揭示了1990年代中后期以来中国当代艺术在认知机制、观看方式、媒介技术与艺术观念等各个层面所发生的“具身观看”和“自由知觉”等新趋势与新变化。通过对西方广义认知诗学与美学的“中国化”处理与运用,中国当代艺术批评得以借助于审美“具身性转向”话题来恢复、重建并激活“身体维度”与“身体话语”在中国现当代艺术史写作与视觉文化研究中的理论意义与学术价值。

Under the influence of contemporary cognitive science and generalized cognitive poetics,Chinese contemporary aesthetics and art criticism pay great attention to the“embodied turn”of perception and cognitive mechanism.By exploiting cognitive poetics,Chinese contemporary critics have deeply revealed the new trends and changes of“embodied viewing”and“free perception”that have taken place in Chinese contemporary art since the middle and late 1990s in various aspects such as cognitive mechanism,viewing mode and media technology.Based on the Sinicized disposal and application of western cognitive poetics and aesthetics,by means of the aesthetic“embodied turn”topic,Chinese contemporary critics are able to recover,reconstruct and activate the theoretical significance and academic value of“body dimension”and“body discourse”in the Chinese modern art history writing and visual culture studies.