زیبایی، دشمن سخاوتمند هنر! درآمدی تحلیلی بر مقاله «هنر پس از فلسفه» اثر جوزف کُسوث (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
جوزف کُسوث در مقاله خود، «هنر پس از فلسفه»، نه تنها زیبایی شناسی به مثابه فلسفه هنر بلکه تمامی فلسفه پیش از ویتگنشتاین را سزاوار نفی و دورشدن از هنر می داند. کُسوث در این مقاله به طرح هنری می پردازد که فارغ از هر مدیوم و بی توجه به ظاهر و ریخت، از فلسفه گذر کرده و با تکیه بر کارکرد خود، زبانی فلسفی یافته است: هنری با عنوان «هنر مفهومی» که جایگزین فلسفه و هنر پیش از خود خواهد شد و تاریخ و تعریف هنر را دگرگون خواهد ساخت. در چنین هنری، «زیبایی» که تا پیش از این جزئی لاینفک از اثر هنری تلقی می شد، دیگر مورد ضمانت و تعهد هنر قرار نخواهد گرفت و هنر پس از این تلاش خواهد کرد با علم و گزاره های قابل استدلال تولید و تبیین شود. این مقاله با رویکردی تحلیلی، به بررسی سیر تطور تعاریف زیبایی شناسی و ارتباط آن با علم، فلسفه و هنر می پردازد تا بتواند مولفه های نظری کُسوث در مقاله «هنر پس از فلسفه» و نگرش نقادانه وی درباره زیبایی و هنر پیشادوشانی را مورد ارزیابی قرار دهد و تعریف محدود هنر ذیل گزاره های تحلیلی زبان و ماهیت پرسشگر آن نزد کسوث را آشکار کند. گزاره های منطقی ای که باید از زمینه خود جدا شوند تا امکان تبدیل شدن به اثر هنری را پیدا کنند.Beauty, the generous enemy of art! Analytical study of “Art after Philosophy”
Joseph Kosuth (Born in 1945, Ohio) -American critic and theorist of art and follower of “Art and Language movement” in America- in his Article entitled “Art after Philosophy” (1969) not Only Beauty as Philosophy of Art but also the entire of Past Philosophy of Wittgenstein deserves rejection and away from Art. according to Wittgenstein’s views, Kosuth defines the meaning of each Phenomenon in its function; Also, He gives priority to function and meaning instead the form; but Kosuth moves on philosophy and defines the art beyond the language of philosophy by limiting the definition of language in the artistic arena. By an anti-Hegelian approach, He explains the condition of passing of art from philosophy and its independence: Comparability of art with an analytical proposition Somehow that the art stabilizes its existence by "Tautology" (it means Art is as Art) and gets independence and power by the term “say nothing except art”. In Kosuth’s view, the essence of art is as function of art, and the function of art is as artist's theoretical propositions. The approved artwork by Kosuth is an analytical proposition that remains in its own arena (art), and with showing the explicit intention of the artist doesn’t refer to any subject outside of its text. Kosuth considers "being an artist" as " being a questioner” of "the essence of art". A questioning that reveals the functional concepts of art, adds something to the concept and language of art or is a new proposition that has not existed before. Joseph Kosuth in this Article defines the Art that regardless of any medium and regardless of the Appearance and shape, the Art which is going beyond Philosophy and making Philosophical Language on the bases of its function. The New Art entitled “Conceptual Art” will replace the past philosophy and past Art also will change Art History, the view of community to Art and importance of Media (Artistic Medium). In this Art, ”Beauty” which previously was considered as an essential part of Art Work, henceforth it will not guarantee and warranty anymore by Art and Art will be produced and explained by science and reasonable Proposition. Joseph Kosuth relying on his definitions, knows Marsel Duchamp (1887 - 1968) the only Artist who could get away from Philosophy and Aesthetic in his work to access Concept. In the opinion of Joseph Kosuth, “Art of Post Duchamp” will be Conceptual in its essence and each work of Post Duchamp in each Medium and manufacturer Object will be discussed in the field of Conceptual Art. This paper, with an analytical approach and in three general sections, reviews The evolution of the “definition of aesthetics” and The relationship between beauty and science, philosophy and art; Also, it evaluates Kosuth's theoretical elements in the article "Art after Philosophy" and his critical attitude about Beauty and the art of pre-Duchamp. In addition, This article reveals limited definition of art following the analytical-linguistic propositions and the questionable essence of art in Joseph Kosuth's opinion.
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