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اکبری, مجید. (1394). هم پوشانی نقد و امر زیباشناختی در هنر. , 20(1), 5-12. doi: 10.22059/jfava.2015.55438
مجید اکبری. "هم پوشانی نقد و امر زیباشناختی در هنر". , 20, 1, 1394, 5-12. doi: 10.22059/jfava.2015.55438
اکبری, مجید. (1394). 'هم پوشانی نقد و امر زیباشناختی در هنر', , 20(1), pp. 5-12. doi: 10.22059/jfava.2015.55438
اکبری, مجید. هم پوشانی نقد و امر زیباشناختی در هنر. , 1394; 20(1): 5-12. doi: 10.22059/jfava.2015.55438

هم پوشانی نقد و امر زیباشناختی در هنر

نشریه هنرهای زیبا: هنرهای تجسمی
مقاله 1، دوره 20، شماره 1، خرداد 1394، صفحه 5-12    اصل مقاله (478.09 K)
نوع مقاله: مقاله پژوهشی
شناسه دیجیتال (DOI): 10.22059/jfava.2015.55438
نویسنده
مجید اکبری*
استادیار گروه فلسفه، دانشکده الهیات و فلسفه، دانشگاه آزاد اسلامی واحد علوم وتحقیقات تهران، ایران.
چکیده
زیباشناسی مدرن در مقوله­های زیبایی و معنا حساب خود را از زیباشناسی کلاسیک جدا کرده و تجربه­های زیباشناختی جدیدی را شکل داده است. دیگر از نگرش انسان به ایستایی و ثبات جهان، حتی در حوزه­ی تفسیر و نقد، اثری نیست. وقتی کاری، مدرن یا پست­مدرن توصیف می­شود، با الزام به درک نوعی پیچیدگی، کار نقد پویاتر و دشوارتر از همیشه خواهد شد. با وجود هم­پوشانی نقد و امر زیباشناختی، دشواریِ تعریف و تشخیص هنر مدرن و پست­مدرن، و دشواریِ معنا کردنِ معنا مسئله می­شود. وقتی نه معنایی هست (مثل ادبیات ابسورد)، و نه حتی فرمی تازه (مثل آماده­- ساخت­های دوشان و وارهول) باید تجربه و لذت زیباشناختی را وسعت بخشید. ازاین­رو، دقت در کاربرد اصطلاحات و واژه­هایی از قبیل معنا، تجربه و واکنش زیباشناختی برای نظم و انضباط بخشیدن به فرایند نقد لازم است. در هنری که خود نوعی نقد فرهنگی است، نقش منتقدان در برقراری ارتباط میان سوژه و ابژه زیباشناختی که شرط اساسی لذت­بخشی است، مهم­تر از پیش است. از قرن هجدهم که مفهوم ادراک هنر و تجربه زیباشناختی با یکدیگر هم­پوشانی داشته­اند، با وجود تمرکز بر اثر همچنان نوعی سوبژکتیویسم بر تمام نقدها ناظر است. در این نوشتار نسبت تجربه­های زیباشناختی جدید با نقد نو بیان می­شود.
کلیدواژه‌ها
نقد؛ هنر؛ تجربه زیباشناختی؛ لذت زیباشناختی؛ سوبژکتیویسم
عنوان مقاله [English]
The Overlap of Criticism and the Aesthetic in the Art Nouveau :(Criticism More Active Than Imagination)
نویسندگان [English]
Majid Akbari
Ph.D. of Philosophy, The Assistant Professor of Department of Theology and Philosophy, Islamic Azad University Science and Research Branch, Tehran, Iran.
چکیده [English]
Modern Aesthetic is separated its account from classic aesthetic in the categories as meaning and beauty, and is shaped new aesthetic experiences. In the modern time isn’t a trace from static and stable attitude to world in the science and even art. When a work describes with terms like modern and post modern, we must be expect that encounter difficulty in its understanding. The works have very complexities and thus their criticism will be more dynamic and difficult. The overlap of criticism and the aesthetic makes difficult distinguish and definition art and the meaning of meaning. When meaning and new and familiar form for example in the absurd literature or in the some works of Duchamp and Warhol’s, it is necessary that we extend aesthetic gratification and experience. Therefore, accuracy is necessary in the use of terms such as aesthetic meaning, experience, reaction. This is in order to give regulation and discipline to the criticism process. In a course of art gets as a cultural critique, relation between subject and object is a necessary condition and critics have more important role in the guidance of public perception. Since eighteen century, the conception of art perception and aesthetic experience are had together overlap and critics have been concentration on artwork or literary text as a form of subjectivism has oversees on all critiques with different approaches. In this passage we seek relation between new experiences with criticism and also the overlap of the aesthetic and criticism. Because, it seems that aesthetic experience is associated with the nature of art and its criticism. In the past, art and literary works were judged as theorems and theories and human action, today criticism is as a form of performance. Criticism is servant for art in order to create unity among people. In the level, both criticism and the aesthetic appear dynamic. It seems, criticism is more active than imagination. This can be regarded as a form of uncontrolled subjectivism. Therefore, now what gives life an artwork is more than an artist. Because of, the production of art doesn’t finish in the production process and continues until the perception of art. Even more than perception continues until art criticism. The difficulty understanding of the contemporary art needs to the help of commentators and critics. They can be easy the perception process for audience, that is, communication becomes easier, Communication among artist, artwork and audience. In addition, criticism can keep alive artwork and dialogue concerning it. Then, art criticism is supplement of the production process and perception. This is the productive role of art criticism. Although, criticism not praise the work of art. The constructive criticism makes more obvious its own the modern and contemporary periods, that is, in art nouveau. Today, aesthetic experiences are unconventional, meaning is absent, literary language is complex, but this isn’t unpleasant. This is pleasant in its new form. Any attempt to the definition of aesthetic experience and gratification and generally art is temporary. This is a dynamic attitude to art.
کلیدواژه‌ها [English]
Art criticism, aesthetic experience, Aesthetic Gratification, Literary Text, art perception
مراجع
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  • Jauss, Hans Robert (1967), “Literary History as a Challenge to Literary Theory.” Trans. Elizabeth Benzinger.
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آمار
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