[素材库] 艺术课堂希望对大家写艺术类文章有所帮助 [复制链接]

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发表于 2004-8-16 12:00:57 |只看该作者 |倒序浏览

最初由 lakeqian 发布
[B] 关于艺术分类
是否可以说艺术被分成这么两类：
社会艺术：把艺术作为一种语言。目的就是交流，让群众都能理解。
个人艺术：如同你曾引用过弗洛伊德的观点：艺术是用来发泄的。
名字是我自己造的。是否有这种理论？？
[/B]

不好意思lakeqian，悄悄话里写不下了，贴出来大家一起分享一下，^_^

其实，对于艺术类问题，我想很难只是简单地以“是”或“不是”来回答你。涉及理论的话，有时就会显得更难把握。鉴于作文版上很多同学似乎对艺术类文章感到颇为痛苦，我在此略微写些东西，权且当作启蒙参考，也希望对大家的写作有所启发。

关于理论
理论是什么？从形而上角度而言，理论就是所有具体事物所形成的概念；从形而下角度而言，理论就是具体的物体。理论的形成过程，其实就是“形而下”（表象思维）转化为“形而上”（抽象思维）的过程，它为自己的行为寻找最合理的注脚，其终极功能就是攻击他人，保护自我。所以，应用到gre作文上来说，引入理论的目的无非就是对于我们自己文章的支持，利于我们对于自我文章论点的建构。

我一直认为对于gre作文而言：任何理论，学说，无论是已著书立说的，或是自我突发奇想的，都可以拿来主义，为我所用，但必须做到一点，那就是——自圆其说。这一点非常重要，说白了，就是把它转化为自己文章中的论证要素剖析，增强文章力度。当然，必须提及的是，这一切的前提在于你对于自我建构的理论或是引用别人的理论必须很熟悉，需要有自我独到的见解和思考，这样的引用理论才有价值和新意，单纯为了套用理论而创造理论的做法无异于东施效颦。

艺术起源
对于艺术起源的问题，学术界的说法向来莫衷一是。我也就把我知道的一些主要学说介绍一下，大致有以下四种理论。

1. 模仿说——由于模仿得到快感和本能的满足。古希腊著名雕像《掷铁饼者》、《打胜利结的运动员》都是此类学说的应征。模仿说完成的使命在于它带来了崇拜英雄的时代。古希腊最著名悲剧《俄狄浦斯王》就是崇尚崇高，崇拜英雄的极致。

2. 游戏说——人的剩余精力的发泄。游戏是人类标志性的生命方式，它是个体生命的自我确认。游戏说所强调的是用美的形式，追求非功利性，是为艺术而艺术，带有纯洁度。

3. 表现说——人的传递情感交流的需要。艺术的产生在于人类自我的不断表现，它是人类的不断的追寻，肯定。

4. 巫术说——分为黑巫术，其功能是诅咒；以及白巫术，其功能在于祈祷。巫术说认为人类的发展进程是巫文化阶段——原始宗教阶段——理性文明阶段。巫术通过仪式与咒语这两大形式得到自我肯定，在一连串的失败和偶然的一次成功中慢慢产生。

艺术功能
这是Pooh以前整理的关于art的资料，因为是英语表述，我感觉效果很不错。在此引用一下，谢谢Pooh先。

Perhaps the oldest definition of the function of the arts is that they provide pleasure. They offer sheer entertainment. We like stories, as in short fiction and TV specials and popular movies. We enjoy being reminded of the familiar, as in musical patterns we have heard since childhood, and we are pleased by arrangements of color, form, sound, and process that remove us from our everyday cares.

That the arts provide pleasure and escape is one formulation. Another is that they present us with insight into what is eternal and universal. Traditionally, this has been called the theory of imitation. Behind every profound work of art, this point of view proposes, is a set of principles about humanity that always prevails. A Renaissance painting of a Madonna and child, for many viewers, is somehow a revelation of transcendent spirituality; a Beethoven symphony is the last word on human endurance. Certain arrangements of color and movement satisfy us over a long period of time, like the ballet Swan Lake, for instance, or Impressionist paintings. We judge them as beautiful. Beauty, many would insist, is the very hallmark of what is truly "art."

To these may be added a third function. The arts are didactic -- they teach us. Shakespeare's Macbeth, for instance, teaches us that inordinate ambition is pernicious. Ingemar Bergman's films urge us not to miss the unspoken and the delicately nuanced. All the narrative arts, in fact, instruct us to some extent. When we watch a play that is deeply moral, we see ourselves in the characters, we recognize our own destinies in the plot, and we find the moral dilemma of the action to be representative of problems in all human relationships.

Artists clamored to attract the notice of potential patrons, setting themselves apart as distinctive individual creators. The pianist Franz Liszt, for instance, in the 1830s and 40s created a public personality as the great piano virtuoso of the era. Socialites who hired him to play at their salons were proud to tell friends that he played the piano with such intensity that repairmen had to be called in afterwards. This function of the arts can be denoted as "expressionism" -- the artist's use of a medium to express unique passion and insight. Poets such as Emily Dickinson and Theodore Roethke, painters such as the American sea painter Winslow Homer, the black folk artist Horace Pipkin, and musicians like blues artist Clarence Leadbelly used the arts to express their deepest private feelings and their vision of the universe. What they created were not works that expressed an official or institutional point of view. They elevated the personal to a level of all-consuming importance.

A second kind of expressionism also developed in the 19th century. This one was much more offensive. In societies undergoing tremendous change, artists began to use art to agitate for social change. The French painter Honore Daumier, for instance, in the 1830s used his brush and pencil to protest political oppression. In early 20th-century America, Theodore Dreiser used the novel to point out the devastating loss of place experienced by workers who fled the rural for the opportunities of the city. Photographer Sherry Levine has used grotesque images of women to protest the oppression of the female gender by American advertising, law, and social custom. This form of expressionism we can call cultural criticism. That is, artists take a stand against certain practices in the society that they consider to be unjust. They become a social conscience. Their viewers and readers are typically angered, and in response, artists often consider the intensity of their offensiveness a badge of honor. Their responsibility, in this view, is to shock. "The artist sees what his fellow citizens can't," the French critic Charles Baudelaire wrote in the 1840s. Some artists pay dearly for it. Henrik Ibsen was almost run out of town for a play that showed the willingness of a resort community to poison its visitors with contaminated water so long as the tourist dollars kept pouring in. Daumier was imprisoned for his caricatures of the King. In the early 20th century, Georges Braque, the French cubist painter, expressed his conviction that the most valuable art is deeply provocative. "Science reassures us," Braque wrote. "The arts disturb us."

艺术本质
综上所述我们不难发现，艺术其本质在于通过可感的形象准确生动地传达出人的内在精神和情感，艺术的核心内涵是完美的技术形式与精神思想的结合。

赘言颇多，不知道是否对大家有所帮助，只是希望能够通过这些略微给大家以启迪，我和其他gter的努力也就不枉白费。

If I'm who I am because I'm who I am and you're who you are because you are who you are, then I'm who I am and you're who you are.

If,on the other hand, I'm who I am because you're who you are, and if you are who you are because I'm who I am, then I'm not who I am and you're not who you are.