تقابل زیبایی شناسی سوبژکتیو با مبانی نظری هنر پاپ از منظرلارنس الووی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
از مهمترین مبادی زیبایی شناسی سوبژکتیو کتاب نقد قوهی حکم کانت است. تأثیر این زیبایی شناسی علاوه بر مدرنیسم، در هنر نیمه ی دوم سده بیستم نیز قابل پیگیری است. به نظر میرسد بدون در نظر داشت زیبایی شناسی سوبژکتیو و تقابل آن با هنر نیمه دوم سده بیستم، بعید است بتوان به درکی جامع از ماهیت برخی جریانات هنری از جمله پاپ نائل آمد. این در حالی است که در تحلیل جریان پاپ کمتر این خصلت تقابلی و نتایج حاصل از آن مدنظر قرار میگیرد. پژوهش حاضر بر آن است تا با اتکا به آرا لارنس الووی در خصوص جریان پاپ و موضع آن در قبال زیبایی شناسی سوبژکتیو به درکی دقیق تر از ماهیت هنر پاپ دست یابد. الووی با در نظرگرفتن خصلتی ارتباطی-کارکردی برای هنر و به طور اخص هنر پاپ، نه فقط به زیبایی شناسی سوبژکتیو واکنش نشان میدهد بلکه در صدد ارائه تعریفی متفاوت از هنر، مبتنی بر نظام ارتباطات است. با اتکا به نظریه ی ارتباطی-کارکردی الووی و خصایص تقابلی آن، میتوان چنین نتیجه گرفت که جریان پاپ هویت خود را به طور صرف در تقابل با زیبایی شناسی سوبژکتیو تعریف میکند. از طرف دیگر این نظریه مطابق معمول موافقتی با ورود به موضوعات و تحلیل های کیفی در خصوص هنر ندارد.Subjective Aesthetics Contrast with the Theoretical Foundations of Pop Art according to Lawrence Alloway
Kant’s thoughts and his important book on beauty and aesthetics - Critique of Judgment - should be considered as one of the most important foundations of subjective aesthetics. Subjective aesthetics in Kant’s theory distinguishes fine arts from useful arts by attributing characteristics such as non-functional, non-conceptual, and genius-based to fine arts. In this respect subjective aesthetics laid the theoretical foundations of modern art - developed in the late nineteenth to the first half of the twentieth century- in the eighteenth century. In addition to modernism, which was directly influenced by subjective aesthetics, this approach also had a great influence on the art of the second half of the twentieth century. The main feature of some artistic currents of that period such as Pop art is based on a critical reaction to subjective aesthetics. Pop art is a turning point of a radically different approach to art and the foundations of the art world. Understanding the characteristics of Pop art is significantly based on reaction to subjective aesthetics, and it seems that without subjective aesthetics we cannot achieve a comprehensive understanding of the nature of some artistic currents in the second half of the twentieth century, including Pop art. Lawrence Alloway is one of the most important theorists of PostModernist art. Alloway initially used the term Pop art to describe some of the artists’ works in Europe and America; works that were different in themes and formal character from fine arts traditionally based on subjective aesthetics. Opposing modernist elitism and any transcendental character for art, Lawrence Alloway sought to achieve a broad definition of culture and art beyond subjective aesthetics; a definition beyond the limits of fine arts, referring to all human activities. In this way, is removed the distinction between fine arts and useful arts in Kant’s theory. In this article, we seek to gain a more accurate understanding of the nature of Pop art by considering Lawrence Alloway’s views - as the most important theorist of Pop art- and his thinking on Kantian aesthetics. Finally, Lawrence Alloway’s theory seems to consider art as functional and communicative system, in order to both respond to subjective aesthetics and to offer a different definition of art in general, which is based on the system of functional communication. On this basis and regarding Pop art, it can be inferred that this theory does not agree with qualitative topics and analyses of art. Because qualitative analysis depends on subjective aesthetics, it is the opposite of Lawrence Alloway’s communicative approach to art. From Lawrence Alloway’s point of view, qualitative values in art seem to neglect the achievement of a common and equal field for all in art. For this reason, art as a communicative medium is considered only as a platform for providing information to the audience.
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