森林边缘的半人马

Maiia-Sofiia Zhumatina
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摘要

本研究致力于探讨艺术理论和艺术哲学中最相关的主题之一--寻找构建不以西方为中心的世界艺术史的原则。由于艺术史作为一门学科的起源受到黑格尔哲学体系的影响,从 20 世纪 60 年代开始到当代的去殖民主义倡议,发展新艺术史的尝试都集中在解构其黑格尔基础的各个方面。从最激进的形式来看,黑格尔可以被看作是 "白人殖民主义者 "对 "他者 "文化艺术史看法的根源,这些 "他者 "文化被归结为 "原始"、"落后 "等特征,或者完全被剥夺了在历史上的地位。本文将探讨作为传统艺术史基础的三个理念(线性、重要性原则和单调性),以及创造任何此类历史的三个哲学问题(选择什么样的历史概念、如何理解历史运动的原则,以及艺术史记录的选择原则是什么)。我们将结合黑格尔的哲学思想来研究这些观点和问题,以及它们在不同程度上偏离原著的许多实际解释。所有这些观点和问题都以某种历史和时间哲学为前提。为了重新考虑对黑格尔主义的批判,本研究建议通过时间性话语暴力的概念对其进行研究,这一概念是通过将人类学中否定他者共存性的概念应用于艺术史中的时间关系语境而构建的。它将表明,对黑格尔原则的摒弃可能导致大量自相矛盾的情况,在这种情况下,艺术史变成了无意义的目录,甚至变成了大数据。接下来将试图证明:(a) 艺术史中的黑格尔主义问题可以转化为时间性话语暴力问题,然而,(b) 这个问题并不能通过相对化、拒绝黑格尔或有选择地保留黑格尔的原则来解决。
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Centaur at the Edge of the Forest
The study is devoted to one of the most relevant topics in art theory and philosophy of art — the search for principles for constructing a world history of art that would not be Western-centric. Since the origination of art history as a discipline is impacted by Hegel's philosophical system, attempts to develop a new history of art, from its beginnings in the 1960s to contemporary decolonial initiatives, have focused on deconstructing various aspects of its Hegelian foundations. In its most radical form, Hegel can be seen as the cause of the “white colonist” view of the art history of “Other” cultures, which are attributed traits such as “primitiveness,” “backwardness,” or are completely denied a place in history. This paper examines three ideas that underlie traditional art history (linearity, the principle of significance, and monochrony), as well as three philosophical questions that create any such history (what concept of history is chosen, how the principle of movement through history is understood, and what the principle selection of art history records is). These ideas and questions will be examined in relation to Hegel's philosophy, along with how their many practical interpretations deviate to varying degrees from the original. All of them are connected by the fact that they presuppose a certain philosophy of history and time. To reconsider the critique of Hegelianism, this study proposes to examine it through the concept of temporal discursive violence, which is constructed by applying the anthropological concept of the denial of coevalness to the Other to the context of temporal relations in the history of art. It will be shown that the rejection of Hegelian principles may lead to a large number of paradoxical situations, in which the history of art turns into a meaningless catalog or even into big data. Next there will be an attempt to prove that (a) the problem with Hegelianism in the history of art can be translated into the problem of temporal discursive violence, however, (b) this problem is not solved by relativization, the rejection of Hegel, or the selective preservation of his principles.
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