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论文作者:www.51lunwen.org论文属性:硕士毕业论文 thesis登出时间:2015-12-26编辑:zhaotianyun点击率:23262
论文字数:8874论文编号:org201511142028452266语种:英语 English地区:澳大利亚价格:免费论文
关键词:Situationist Theory资本主义芭芭拉克鲁格
摘要:摘要:本文主要讲述了情境主义在欧洲先锋派运动的背景下的运用和体现。
In anarchic efforts to subvert the spiritual and fiscal poverty of urban life under the tyranny of the spectacle, the Situationists developed a revolutionary art, departed from artistic convention. In their article 'Preliminaries Toward Defining a Unitary Revolutionary Program,' Debord and the Marxist theorist Pierre Canjuers, assert,
“At one pole, art is purely and simply recuperated by capitalism as a means of conditioning the population. At the other pole, capitalism grants art a perpetual privileged concession: that of pure creative activity, an alibi for the alienation of all other activities (which makes it the most expensive and prestigious status symbol). But at the same time, this sphere reserved for 'free creative activity' is the only one in which the question of what we do with life and the question of communication are posed practically and in all their fullness. Here, in art, lies the basis of the antagonisms between partisans and adversaries of the officially dictated reasons for living. The established meaninglessness and separations give rise to the general crisis of traditional artistic means -- a crisis linked to the experience of alternative ways of living or the demand for such experience. Revolutionary artists are those who call for intervention; and who have themselves intervened in the spectacle in order to disrupt or destroy it.”
Initially, the work the Situationist International produced was aimed at ridiculing formalist conceptions of the art object: Asger Jorn bought amateur paintings at flea markets and painted over them, subverting notions of authority and value. Giuseppe Pinot-Gallizio invented a style of “industrial” painting where the canvas was over a hundred metres long, then cut strips off for potential buyers, thereby subverting traditional preconceptions of art's autonomy. In reality these processes were eventually absorbed by a capitalist art market - bought, sold, exhibited, written about, and for the most part, politically neutered. In his 1974 book Theory of the Avant-Garde, Peter Burger points out that the avant-garde artist's main goal is to shock the viewer, typically accustomed to organic or formalist works of art, in the hope that 'such withdrawal of meaning will direct the reader's attention to the fact that the conduct of one's life is questionable and that it is necessary to change it' He goes on to state that,
'Paradoxically, the avant-gardist intention to destroy art as an institution is thus realized in the work of art itself. The intention to revolutionize life by returning art to its praxis turns into a revolutionizing of art'. This is the kind of logic that prompted the Situationists to agree to stop producing art in 1961, when they decided to cease considering themselves artists. Any remaining members unwilling to abandon traditional forms of art, including Jorn, Pinot-Gallizio, and Constant found themselves either being forced into ideological resignation or e本论文由英语论文网提供整理,提供论文代写,英语论文代写,代写论文,代写英语论文,代写留学生论文,代写英文论文,留学生论文代写相关核心关键词搜索。