摘要
T.S.艾略特的“传统”理论在人类学意义的时间概念上,更强调与社会文化的互动关系,即一种具有“历史意识”的传统观,其理论背后是艾略特对于艺术创新的反思与关注。创作主体的创造力在艺术生产中具有重要作用,但要将创新放进历时性的整体之中考察,在传统的历史语境中创造并延续未来。文章结合艾略特的创造力观念,尝试通过爪哇表演的民族志研究来阐明,传统与主体创造力之间不同于结构与能动性的辩证关系。传统可作为一种激活因素而非制约因素推动艺术创新,创作出具有文化基因和集体主义的创造性作品,并给予当代艺术创作深刻的启示和意义。
T.S.Eliot’s“tradition”theory emphasizes the interactive relationship with social culture in terms of the anthropological concept of time,that is,a traditional view with“the historical sense”.Behind its theory is Eliot’s reflection and concern for artistic innovation.The creativity of the creative subject plays an important role in artistic production,but innovation should be examined within a diachronic whole,creating and continuing the future in a traditional historical context.This paper will combine Eliot’s concept of creativity with the ethnographic study of Javanese performance to illustrate that the dialectical relationship between tradition and subjective creativity is different from that between structure and agency.Tradition could act as an activating factor rather than a restricting factor to promote artistic innovation,create creative works with cultural genes and collectivism,and give profound inspiration and significance to contemporary art creation.
出处
《当代舞蹈艺术研究》
2023年第2期59-67,共9页
Contemporary Dance Research
基金
国家社会科学基金课题青年项目“演示类叙述的数字化传播特征及价值内涵研究”(项目编号:18CXW022)阶段性研究成果之一
作者简介
费利西亚·休斯—弗里兰(Felicia Hughes-Freeland),女,人类学家,英国伦敦大学亚非学院东南亚语言和文化系研究员。主要研究方向:印度尼西亚舞蹈研究;崔久成,中山大学中文系(珠海)博士生。主要研究方向:艺术符号学;罗易扉,女,文学博士,上海师范大学教授。主要研究方向:艺术史论、艺术人类学理论、欧美艺术人类学思想史、物质文化研究、视觉文化研究。
