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引用次数: 0
摘要
史前学家AndréLeroi Gourhan设想了一种从手工活动延伸到艺术生产的连续性技术行为。他在旧石器时代洞穴艺术方面的工作,主导了他职业生涯的最后阶段,建立在20世纪50年代和60年代设定的参数之上,事实上,早期的造型作品(《青铜中国》(1936)和《艺术比较文献》(1943))已经使用了他西方艺术史(1965)的方法论。尽管如此,勒罗伊·古尔汉的战后作品还是发生了质的转变,以回应结构主义,并与他关于人类进化的作品对话。Le Geste et la Parole(1964–5)代表了一个重要的中介点,描述了审美体验的生理基础和塑造之前的发展阶段。Leroi Gourhan主张旧石器时代艺术作为一种艺术传统的正常性,同时坚持其绝对的另类性。洞穴中的心灵能够在形式和内容上进行最抽象、最深奥的变化,但也代表了我们自己的另一个世界。
The prehistorian André Leroi-Gourhan envisages technological behaviour along a continuum of manual activity extending to artistic production. His work on Palaeolithic cave art, which dominates the final phase of his career, builds on parameters set out in the 1950s and 1960s, and indeed early works on figuration ( Bestiaire du bronze chinois (1936) and Documents pour l'art comparé (1943)) already use the methodology which characterizes his Préhistoire de l'art occidental (1965). Nevertheless, there is a qualitative shift in Leroi-Gourhan's post-war work in response to structuralism and in dialogue with his work on human evolution. Le Geste et la Parole (1964–5) represents an important point of mediation, describing the physiological foundations of aesthetic experience and the stages of development which precede figuration. Leroi-Gourhan argues for the normality of Palaeolithic art as an artistic tradition while insisting on its absolute otherness. The mind in the cave is capable of the most abstract and esoteric variations of form and content, but also represents an alternative world to our own.
期刊介绍:
Founded in 1983, Paragraph is a leading journal in modern critical theory. It publishes essays and review articles in English which explore critical theory in general and its application to literature, other arts and society. Regular special issues by guest editors highlight important themes and figures in modern critical theory.