摘要
在"情动转向"的学术背景和情感研究的理论框架下,本文试图将"情动"概念与艺术问题相连接,探讨情感理论作为艺术史研究思想与方法的可能性.在对斯宾诺莎哲学的解读中,德勒兹将情感还原为身体力量的流变,在其中如何发挥情感的主动力量,决定了一个身体能做什么;进而他在弗朗西斯·培根的绘画中发现了一种充满力量的"无器官的身体".于是,德勒兹将斯宾诺莎的诘问"身体能做什么"转化为了"身体-艺术能做什么?",并将情动、身体与艺术纳入了有关欲望生产和对资本主义解域的分析之中.通过对卡拉瓦乔、蒙克以及当代艺术中的YBAs、黄永砅等艺术家的追溯,本文将试图展现情动力量在艺术创作中不断打破肉身、主体、历史和媒介之边界的动态过程.
Abstract
Under the academic background of"affective turn"and the theoretical framework of sentiment studies,this paper attempts to connect the concept of"affect"with art issues,and explores the possibility of emotion theory as an idea and method of art history research.In his interpretation of Spinoza's philosophy,Deleuze reduced emotions to the flow of bodily forces,in which how to exert the active power of emotions determined what a body can do;then,he found in the paintings of Francis·Bacon a"body without organs"full of power.Deleuze then transformed Spinoza's question,"What can the body do?"into"What can the body-art do?"and incorporated emotion,body,and art into the analysis of desire production and the"deterritorialization"of capitalism.By tracing back to Caravaggio,Munch,and other artists in contemporary art,such as YBAs and Huang Yongping,this paper attempts to show the dynamic process of affective forces constantly breaking down the boundaries between body,subject,history,and media in artistic creation.
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