摘要
朗西埃以美学之名把政治引入了艺术体制的辨识中。美学与政治有内在的同一性,即感性的分配。朗西埃通过对原政治、类政治、政治的三种感性分配类型的区分,把它们理解为主导艺术体制的知识型。这三种感性分配类型塑形了艺术的三种体制,即影像的伦理体制、艺术的诗学/再现体制、艺术的美学体制。这种对应和关联的话语模式构成了朗西埃展开艺术、电影、文学批评的理论基石。
This paper interprets the connotations of Ranciere’s idea of politics and aesthetics.It argues that the internal identity between the two is founded on distribution of the sensible.Then the double senses of aesthetics,the politics in broad sense and the aesthetic regime of art in narrow sense,are explored from the perspectives of politics and the art.Besides,it summarizes the correspondence between the three political modes and art institutions from the integrity of his theory.This theoretical discussion on their connections is viewed as his unique critical paradigm in his art criticism and specific research in literature,but it has never been thoroughly expounded.
出处
《兰州大学学报（社会科学版）》
CSSCI
北大核心
2018年第1期102-109,共8页
Journal of Lanzhou University（Social Sciences）
基金
上海第二工业大学公共关系学科建设项目(XXKPY1610)
关键词
雅克·朗西埃
政治
感性的分配
影像的伦理机制
诗学的再现体制
艺术的美学体制
Jacques Ranci6re
politics
distribution of the sensible
ethical regime of image
representative regime of art
aesthetic regime of art
