藝術自主與其矛盾性－並從系統理論探討

Autonomy of Arts and Its Self-Contradiction-And an Approach through System Theory

10.6793/JNTCA.201104.0063

吳介祥(Chieh-Hsiang Wu)

藝術自主性 ； 前衛藝術 ； 系統理論 ； 阿多諾 ； 盧曼 ； Autonomy of Art ； Avant-garde ； System Theory ； Adorno ； Luhmann

藝術學報

88期（2011 / 04 / 01）

63 - 88

繁體中文

自主性的觀念始於十八世紀，關於藝術自主的論述則在二十世紀繁茂發展，然而各家論述者對於藝術自主的定義和如何表現的說法則彼此不同。藝術自主是針對藝術本身，還是出自藝術對外的關係，應從前衛藝術的主張和表現著手。而關於藝術創作方面，藝術自主與創作之形式、素材等問題的關係和運用，也在研究的範圍之內。藝術自主性是一個陳述社會關係的概念，不是創作和鑑賞單方面的議題，本研究最後還透過社會學系統理論的模型探討來自藝術社會學、藝術史與藝術評論，以及創作者的觀點和論述，更清楚理解藝術自主性概念的諸多特質，尤其是其矛盾性和與社會其他系統產生衝突的潛力。

Concepts about autonomy initiated during the 18th century and thrived in the 20th century. Theorists have different angles and standings about what is art autonomy and how it could be expressed through art. This study first explores the relationship between art autonomy and the forms or materials in the creation of artworks, then goes further to explain that art autonomy, no matter it is regarded in art production or art appreciation, won't be established without looking into its particular social context. This study applies system theory in sociology to investigate the perspectives of artists, art historians and art critics among other theorists to delineate the changing nature of art autonomy, the clashes it has caused with other social systems, its self-contradictory dilemma, and the possibilities it conveys through all these paradoxes.

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