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在以往对艺术的认识中,艺术总是屈居于哲学和真理之下,乞灵于哲学,呈现出哲学为艺术代言的现状。巴迪欧的“非美学”思想打破了这种传统美学情境,一反常规地颠覆了长期以来人们对艺术与哲学、真理之间关系的根本认识,从而构成了20世纪晚期美学史上的一个事件。在巴迪欧的“非美学”视野中,艺术并非作为哲学的客体对象而存在,相反,艺术自身是真理的生产者,而且它所生产的是专属的艺术真理,具有独特性和内在性。巴迪欧不仅为艺术生产真理进行辩护,而且在其事件哲学的基础上阐明了艺术生产真理的程序机制。他将艺术真理界定为一种由艺术作品构成的艺术程序或艺术配置,其中包含了从艺术事件的发生到艺术主体的忠诚,以及艺术真理诞生的整个过程。
In the past understanding of art, art always bends under philosophy and truth, begging for philosophy, showing the status of philosophy as an endorsement of art. Badiou’s “non-aesthetic” thinking broke the traditional aesthetic situation and reversed the conventional understanding of the fundamental relationship between art and philosophy and truth for a long time, thus constituting the aesthetic history of the late 20th century An event In Badiou’s “non-aesthetic ” field of vision, art does not exist as the object object of philosophy, on the contrary, art itself is the producer of truth, and it produces exclusive artistic truth with uniqueness and innerness Sex. Badiou not only defends the truth of art production, but also clarifies the procedural mechanism of art production truth on the basis of his event philosophy. He defines artistic truth as an artistic process or art configuration composed of works of art, which includes the whole process from the occurrence of artistic events to the artistic subject as well as the birth of artistic truth.