كليدواژه :
هنر پاپ , هنر زيبا , لارنس الووي , زيبايي شناسي سوبژكتيو
چكيده فارسي :
از مهم ترين مباد ي زيبايي شناسي سوبژكتيو كتاب نقد قوه ي حكم كانت است. تأثير اين زيبايي شناسي علاوه بر مد رنيسم، د ر هنر نيمه ي د وم سد ه بيستم نيز قابل پيگيري است. به نظر مي رسد بد ون د ر نظر د اشت زيبايي شناسي سوبژكتيو و تقابل آن با هنر نيمه د وم سد ه بيستم، بعيد است بتوان به د ركي جامع از ماهيت برخي جريانات هنري از جمله پاپ نائل آمد . اين د ر حالي است كه د ر تحليل جريان پاپ كم تر اين خصلت تقابلي و نتايج حاصل از آن مد نظر قرار مي گيرد . پژوهش حاضر بر آن است تا با اتكا به آرا لارنس الووي د ر خصوص جريان پاپ و موضع آن د ر قبال زيبايي شناسي سوبژكتيو به د ركي د قيق تر از ماهيت هنر پاپ د ست يابد . الووي با د ر نظرگرفتن خصلتي ارتباطي - كاركرد ي براي هنر و به طور اخص هنر پاپ، نه فقط به زيبايي شناسي سوبژكتيو واكنش نشان مي د هد بلكه د ر صد د ارائه تعريفي متفاوت از هنر، مبتني بر نظام ارتباطات است. با اتكا به نظريه ي ارتباطي -كاركرد ي الووي و خصايص تقابلي آن، مي توان چنين نتيجه گرفت كه جريان پاپ هويت خود را به طور صرف د ر تقابل با زيبايي شناسي سوبژكتيو تعريف مي كند . از طرف د يگر اين نظريه مطابق معمول موافقتي با ورود به موضوعات و تحليل هاي كيفي د ر خصوص هنر ند ارد .
چكيده لاتين :
Kant’s thoughts and his important book on beauty and
aesthetics - Critique of Judgment - should be considered
as one of the most important foundations of subjective
aesthetics. Subjective aesthetics in Kant’s theory
distinguishes fine arts from useful arts by attributing
characteristics such as non-functional, non-conceptual,
and genius-based to fine arts. In this respect subjective
aesthetics laid the theoretical foundations of modern
art - developed in the late nineteenth to the first half
of the twentieth century- in the eighteenth century. In
addition to modernism, which was directly influenced
by subjective aesthetics, this approach also had a great
influence on the art of the second half of the twentieth
century. The main feature of some artistic currents of
that period such as Pop art is based on a critical reaction
to subjective aesthetics. Pop art is a turning point of a
radically different approach to art and the foundations
of the art world. Understanding the characteristics of
Pop art is significantly based on reaction to subjective
aesthetics, and it seems that without subjective aesthetics
we cannot achieve a comprehensive understanding of
the nature of some artistic currents in the second half
of the twentieth century, including Pop art. Lawrence
Alloway is one of the most important theorists of Post-
Modernist art. Alloway initially used the term Pop art
to describe some of the artists’ works in Europe and
America; works that were different in themes and
formal character from fine arts traditionally based on
subjective aesthetics. Opposing modernist elitism and
any transcendental character for art, Lawrence Alloway
sought to achieve a broad definition of culture and art
beyond subjective aesthetics; a definition beyond the
limits of fine arts, referring to all human activities. In
this way, is removed the distinction between fine arts and
useful arts in Kant’s theory. In this article, we seek to
gain a more accurate understanding of the nature of Pop
art by considering Lawrence Alloway’s views - as the
most important theorist of Pop art- and his thinking on
Kantian aesthetics. Finally, Lawrence Alloway’s theory
seems to consider art as functional and communicative
system, in order to both respond to subjective aesthetics
and to offer a different definition of art in general, which
is based on the system of functional communication. On
this basis and regarding Pop art, it can be inferred that
this theory does not agree with qualitative topics and
analyses of art. Because qualitative analysis depends
on subjective aesthetics, it is the opposite of Lawrence
Alloway’s communicative approach to art. From
Lawrence Alloway’s point of view, qualitative values
in art seem to neglect the achievement of a common
and equal field for all in art. For this reason, art as a
communicative medium is considered only as a platform
for providing information to the audience
