製造藝術--論古德曼的藝術哲學

Artmaking: A Study on Nelson Goodman's Philosophy of Art

鄭勝華(Sheng-Hua Cheng)

指導教授 ： 陳瑞文

國立臺灣師範大學/藝術學院/美術學系/博士(2012年)

摘要

本論文旨在研究古德曼的美學與藝術哲學。其研究環繞著幾個問題：探討古德曼如何透過語言分析、邏輯命題與指涉關係來建構藝術的語言，或稱為象徵理論。這樣的方式導致古德曼藝術哲學出現什麼樣的特徵？當中呈現出什麼樣的藝術操作模態？又如何連結到他思想的其他面向，如形上學、本體論與認識論。古德曼這種強調認知與理解為主導的藝術哲學呈現出什麼樣的美學變化？它與當代其他藝術理論，尤其是分析美學以外的藝術理論，之間的差異為何？或者它們彼此之間存在著可能的共同趨向？反映出當代藝術哲學什麼樣的理論轉向？
在這些問題的引導下，首先說明論文主要的研究方法是透過議題式的發展而形成的，此有別於試圖完整勾勒古德曼思想的企圖。
古德曼思想的方法論是進一步討論其藝術哲學之前必須掌握的關鍵。因為整體來看，方法論的運用遍及他整個著作與不同思想面向之中。接下來，針對古德曼藝術理論中幾個核心概念進行探討，這包括藝術的徵候、再現與範例等等。藉此，發現其藝術理論強調象徵辨識、理解與運用的能力，而且呈現出三重不同的發展方向，即藝術教育、藝術創作與藝術哲學的重新概念化。
古德曼視藝術作為一種象徵系統，這個看法可追溯到他的「製造世界」概念，發現藝術與製造世界之間有著非比尋常的關係，因為藝術被他視為是製造世界的方式，於是對古德曼藝術哲學的探尋轉而進入其本體論層面的討論。不過，製造世界另一層積極的涵義是，製造本身就是一種認識論的運作過程，藝術作品或藝術理論因而不僅與象徵有關，而且轉向一種認識模態的操作。
正是在認識論的層面上，古德曼藝術哲學與其他當代藝術理論有了共同對話的平台，以此平台為基礎，可作為觀察當代藝術哲學不同取徑之間的差異與相似之處，也作為本論文在其中所嘗試的製造藝術。

關鍵字

象徵系統 ； 理解 ； 認識論 ； 製造世界 ； 製造藝術

並列摘要

This study aims at exploring Nelson Goodman’s aesthetics and philosophy of art, addressing the following main questions: how does Goodman construct his languages of art or the theory of symbols by analyzing languages logical propositions and inferential relations? How does such method shape Goodman’s philosophy of art? How does he elaborate his philosophy of art? And how does his philosophy of art connect with other dimensions of his theory such as metaphysics, ontology and epistemology? What kind of aesthetic shift is presented in Goodman’s philosophy of art which stresses cognition and understanding? What are the differences between Goodman’s theory of art and that of contemporary art criticisms, especially those other than analytic aesthetics? Are there any coherent trend shared by them? Do these contemporary philosophies of art as a whole indicate any theoretical turn?
With these questions in mind, I would firstly demonstrate that my approach to Nelson’s thought is primarily theme-based, which is far from an attempt to make a complete presentation of it. The methodology employed in his thought would function as the key to any further discussions of Goodman’s philosophy of art, as it is applied throughout his works and other aspects of his thought. Next, the discussions would revolve around some of the key concepts in Goodman’s philosophy of art, including symptoms of the aesthetic, representation, exemplification, and so on. Then we may come to discover that Goodman’s theory of art foregrounds the abilities of discriminating, understanding, and applying symbols, and they separately develop into three different directions, i.e., art education, art creation, and the reconception of philosophy of art.
As Goodman deems art as one symbol system, we may trace this view to his concept of “worldmaking.” That further indicates a significant relationship shared by art and worldmaking due to the fact that art, for Goodman, signifies ways of worldmaking. This also brings our exploration of his philosophy of art further to the discussion of his ontology. What is worth noting is that worldmaking contains another layer of active meaning: the making itself is the operational process of epistemology. Works of art and theories of art are hence not only connected with symbols, but also developed into an operation of epistemic mode.
It is on this level of epistemology and the theory of knowledge that Goodman’s philosophy of art stands in dialogue with other contemporary theories of art. Taking this as a basis, we may observe the differences and similarities shared among different approaches of contemporary philosophy of art. Finally, it may also serve as the basis for an attempt of Artmaking in this study.

並列關鍵字

symbol systems ； understanding ； epistemology ； worldmaking ； artmaking

參考文獻

Aesthetics and Worldmaking: An Exchange with Nelson Goodman. in The Journal of Aesthetics and Art Criticism 39, Spring, 1981. pp. 249-80.

張慈倫（2010），〈以Nelson Goodman的“Reality Remade”討論“The Great Hippias”的時序邏輯〉，收於《議藝份子》（14期），2010, 3，中壢市：中央大學藝術學研究所，頁147-162。

卡爾維諾（Italo Calvino）（1996）/著，吳潛誠/校譯，《給下一輪太平盛世的備忘錄》，台北市：時報出版。

Nelson Goodman. (1977). The Structure of Appearance. 3rd ed. Boston: D. Reidel Publishing Company.

---. (1976). Languages of Art：An approach to a theory of symbols. 2nd ed. Indianapolis: Hackett Publishing Company.