調(diào)侃與表達(dá)——中國(guó)當(dāng)代藝術(shù)關(guān)于對(duì)“偽神圣”的“調(diào)侃”之解析

1、北京服裝學(xué)院碩士學(xué)位論文I調(diào)侃與表達(dá)—— 中國(guó)當(dāng)代藝術(shù)關(guān)于對(duì)“偽神圣”的“調(diào)侃”之解析摘 要本文從神圣意識(shí)和批判偽神圣意識(shí)結(jié)合當(dāng)代藝術(shù)中的調(diào)侃現(xiàn)象來(lái)說(shuō)明，當(dāng)代藝術(shù)嚴(yán)重缺失的品質(zhì)和調(diào)侃所具有的價(jià)值。內(nèi)容主要分為四個(gè)方面：一、調(diào)侃的對(duì)象與調(diào)侃的特征；二、被調(diào)侃的偽神圣；三、20世紀(jì)80年代以來(lái)中國(guó)當(dāng)代藝術(shù)中的調(diào)侃；四、調(diào)侃的價(jià)值。這四個(gè)部分依次從中西方文化的不同角度來(lái)解釋什么是調(diào)侃，調(diào)侃與其他類似的表達(dá)方式的本質(zhì)區(qū)別，以及在哲學(xué)和文化、思維

2、和現(xiàn)實(shí)中的表現(xiàn)。并且突出分析神圣與偽神圣，崇高與偽崇高的區(qū)別，剖析偽神圣出現(xiàn)的時(shí)代背景和歷史條件。強(qiáng)調(diào)人們的思想為什么要被解放，以及面對(duì)不同歷史人物和環(huán)境條件的解放是如何進(jìn)行的。再具體到20世紀(jì)80年代以來(lái)（具體1979年之后），當(dāng)代文學(xué)和藝術(shù)中發(fā)生了什么樣深刻的變化，這種變化在當(dāng)時(shí)是以怎么樣形態(tài)發(fā)生的并且對(duì)后世具有什么樣的影響。著重分析在這一時(shí)期中以調(diào)侃為主要表現(xiàn)方法的這一現(xiàn)象的歷史原因、產(chǎn)生背景和這種現(xiàn)象背后的意義進(jìn)行較為深入的思考

3、。并且闡述調(diào)侃的價(jià)值不僅僅是消解偽神圣和偽崇高，其更深遠(yuǎn)的價(jià)值是消解之后的重構(gòu)。并且明確闡述調(diào)侃必須要有底線，怎么才是具有獨(dú)立思維和道德品質(zhì)的調(diào)侃。調(diào)侃這一種在20世紀(jì)80年代才逐步興起的藝術(shù)表現(xiàn)形態(tài)，憑借一種輕松戲謔的形態(tài)得到了人們的熱捧，并且熱衷于調(diào)侃那些被神圣化的人和事。文章的重心在于“調(diào)侃”這種表達(dá)方式，對(duì)人們的為什么要調(diào)侃偽神圣做出解釋，論證調(diào)侃的過(guò)程實(shí)際上就是對(duì)偽神圣的消解與解構(gòu)，具體分析面對(duì)不同歷史條件和社會(huì)環(huán)境的解構(gòu)是如

4、何進(jìn)行的。本文以中國(guó)20世紀(jì)80年代以來(lái)國(guó)內(nèi)的調(diào)侃式表達(dá)的現(xiàn)象舉例說(shuō)明，面對(duì)公眾的藝術(shù)作品中所蘊(yùn)含的調(diào)侃以為不能只是單純的發(fā)泄，成熟的調(diào)侃式的藝術(shù)作品應(yīng)該承擔(dān)其社會(huì)責(zé)任和文化任務(wù)。通過(guò)具體的文藝作品和藝術(shù)家，來(lái)闡明調(diào)不同藝術(shù)家所創(chuàng)造的調(diào)侃藝術(shù)的共同之處。闡述調(diào)侃的價(jià)值不僅僅是消解偽神圣和偽北京服裝學(xué)院碩士學(xué)位論文IIIRidicule and expression -- an analysis of Chinese contempora

5、ryart on the “pseudo sacred“ “ridicule“AbstractFrom the divine consciousness and critical combination of pseudo-divineconsciousness of contemporary art to illustrate the phenomenon of ridicule, a seriouslack of quality c

6、ontemporary art and ridicule has value. The content is divided into fourareas: First, the object of ridicule ridicule characteristics; second, is a pseudo-sacredridicule; Third, since the 1980s, Chinese contemporary art

7、ridicule; four, ridicule value.The four parts of this Western culture from different angles to explain what is ridicule,ridicule essential difference with other similar expressions, as well as performance inphilosophy an

8、d culture, thought and reality. And highlight the analysis andpseudo-sacred sacred, sublime and pseudo-noble distinction, background and analysisof the pseudo-sacred historical conditions arise. Why emphasize people'

9、s minds to beliberated, and how to deal with different historical figures and environmentalconditions of the liberation is carried out. To be more specific since the 1980s(particularly after 1979), what kind of profound

10、changes in contemporary literature andart took place, at the time this change is happening and how to shape what kind ofimpact on future generations. It analyzes the historical reasons during this period toridicule as th

11、e main manifestation of this phenomenon method to produce thebackground and meaning behind this phenomenon will be more in-depth thinking. Andexpound the value of ridicule just digestion and pseudo-pseudo-sacred sublime,

12、 ismore far-reaching value of its reconstruction after digestion. And articulated ridiculemust have the bottom line, how is the independent thinking and moral quality ofridicule.A laugh that the 1980s was the gradual ris

13、e of forms of artistic expression, with aneasy banter got people favorable shape, and keen to ridicule those who are sanctifiedand things. The focus of the article is “ridicule“ this expression on people's whyridicul

14、e pseudo divine explanation, argumentation ridicule process is actuallypseudo-sacred digestion and deconstruction, specific analysis face different historicalconditions and social environment How deconstruction is carrie