在西方高等教育传统中艺术史课程的引进和学科的确立是很晚近的事。在德国直到18世纪末主要由于对考古学和古物研究的兴趣和热情,艺术史研究才象我们今天这样在形式上得到基本确认。“艺术史”这个学科名称最早出现在德国学者约翰·...在西方高等教育传统中艺术史课程的引进和学科的确立是很晚近的事。在德国直到18世纪末主要由于对考古学和古物研究的兴趣和热情,艺术史研究才象我们今天这样在形式上得到基本确认。“艺术史”这个学科名称最早出现在德国学者约翰·温克尔曼[Johan Winckelmann]1764年所著的《古代艺术史》(Geschichte der Kunst des Altertums)一书中。早期确立艺术史基本原理的尝试在另一位德国学者卡尔·F·鲁穆尔[Karl Friedrich von Rumohr]1827年所著的《意大利研究》(Italienische Forschungen)一书中得到充分体现。1813年在德国哥廷根大学设立了艺术史的全职教授席位,此后在德国、奥地利、瑞士的各大学中也都出现了艺术史的专职教席。1833年柏林大学艺术学院的艺术史家弗朗茨·库格勒[Franz Kugler]被正式任命为艺术史教授,后来他出版了奠定艺术史学科基础的两部专著:《绘画史》(History展开更多
Nicholas Bourriaud＇s relational aesthetics is regarded as a new approach to art history and criticism, but has recently been appropriated by many art programs as a pedagogical and productive strategy in the classroom...Nicholas Bourriaud＇s relational aesthetics is regarded as a new approach to art history and criticism, but has recently been appropriated by many art programs as a pedagogical and productive strategy in the classroom. While there is much that is positive in Bourriaud＇s ideas in the first sense, its translation into a studio situation is problematic. Offering a corrective through Lacanian psychoanalysis, with acknowledgement of additional figures with corresponding ideas, it is proposed that Bourriaud＇s ideas are valuable additions to pedagogy generally but are equally in need of modifications that encompass a critical understanding of the desire structures of both students and faculty.展开更多
文摘在西方高等教育传统中艺术史课程的引进和学科的确立是很晚近的事。在德国直到18世纪末主要由于对考古学和古物研究的兴趣和热情,艺术史研究才象我们今天这样在形式上得到基本确认。“艺术史”这个学科名称最早出现在德国学者约翰·温克尔曼[Johan Winckelmann]1764年所著的《古代艺术史》(Geschichte der Kunst des Altertums)一书中。早期确立艺术史基本原理的尝试在另一位德国学者卡尔·F·鲁穆尔[Karl Friedrich von Rumohr]1827年所著的《意大利研究》(Italienische Forschungen)一书中得到充分体现。1813年在德国哥廷根大学设立了艺术史的全职教授席位,此后在德国、奥地利、瑞士的各大学中也都出现了艺术史的专职教席。1833年柏林大学艺术学院的艺术史家弗朗茨·库格勒[Franz Kugler]被正式任命为艺术史教授,后来他出版了奠定艺术史学科基础的两部专著:《绘画史》(History
文摘Nicholas Bourriaud＇s relational aesthetics is regarded as a new approach to art history and criticism, but has recently been appropriated by many art programs as a pedagogical and productive strategy in the classroom. While there is much that is positive in Bourriaud＇s ideas in the first sense, its translation into a studio situation is problematic. Offering a corrective through Lacanian psychoanalysis, with acknowledgement of additional figures with corresponding ideas, it is proposed that Bourriaud＇s ideas are valuable additions to pedagogy generally but are equally in need of modifications that encompass a critical understanding of the desire structures of both students and faculty.
