Ikonographie Der Unterhaltung

華偉納(Werner Wagner)

《臺德學刊》 5期 (2003/06) Pp. 5-47

https://doi.org/10.30005/DTH.200306.0001

摘要

以一個與理想主義哲學和阿得諾的批評理論不同的觀點，作者結合了康德人類美學的圖像學對美學作品（這裡指的是好萊塢電影）進行評論。作者認為，藝術作品中的自我再體認造就了人類的自我肯定。圖像或者是宗教的聖像學具有引導功能，也使文化、社會、宗教的內涵產生認同的功能；所以它們對個人的感覺和美感的經驗有非凡的意義。這種觀點在與美學理論的相關下－作者認為－本作品透過由神話、歷史故事中擷取而來的例子，給了娛樂／藝術一個全新的、非常根本的意義。

關鍵字

圖像學 ； 娛樂／藝術 ； 美學／美感經驗 ； 自我再體認 ； 自我肯定

並列摘要

The author undertakes a different evaluation of aesthetic production (here: the Hollywood film) than the idealistic philosophy or the Critical Theory by Theodor W. Adorno under the aspect of iconography in combination with Kant's anthropological aesthetic. The author maintains that self recognition of his own in works of art serves the self assurance of the human being as human beings. The icon (religious and non-religious) give an orientation and point of identification with their contents, which refer to cultural, social and religious values. Therefore the icons are fundamentally important for the aesthetic perception and individual experience. The Iconography of Entertainment shows in many examples from mythology and cultural history in the context of aesthetic theory a new and a consistent evaluation of art.

並列關鍵字

Icon/Iconography ； Entertainment ； Aesthetics/aesthetic experience ； Recognition ； Reassurance

參考文獻

Adorno, Theodor, W(1970).Ästhetische Theorie.Frankfurt/M., Suhrkamp:

Adorno, Theodor, W(1970).Eingriffe (Neun kritische Modelle).Frankfurt/M., Suhrkamp:

Adorno, Theodor, W(1967).Ohne Leitbild (parva Aesthetica).Frankfurt/M. Suhrkamp:

Adorno, Theodor, W(1969).Stichworte (Kritische Modelle 2).Frankfurt/M. Suhrkamp:

Aristoteles(1950).Himmel, Seele Dichtkunst.Zürich, Artemis: