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Comparative art history from the perspective of the theory of the audience-various theatrical aspects of the viewing practice

观众理论视角下的比较艺术史——观看实践的各个戏剧方面

基本信息

批准号：
21320042
负责人：
HAYASHI Michio
金额：
$ 11.56万
依托单位：
Sophia University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (B)
财政年份：
2009
资助国家：
日本
起止时间：
2009 至 2011
项目状态：
已结题

项目摘要

During the three year-period of this research project, we held 12 international workshops and one symposium all of which were connected by the central theme of "audience theory." We invited scholars from various countries specializing in different historical periods and genres and engaged in extensive comparative investigations in order to re-vision art history from the audience-oriented perspective. In the process, a variety of key issues emerged around the issue of the audience : the difference between individual and group audience ; how the relationship between the image and the audience is conditioned and defined by the nature of the "site" of encounter(ritualistic, ceremonial, or contemplative)?; what kind of role does the mediator/agent(artist her/himself, "e-toki" performer, art historian, curator) play?; how does the secondary means of presentation/distribution(such as the issue of "remake" or photographic reproduction) influence the reception of a particular work/image? and so on. This set of issues which are often historically specific have become visible during the three-year investigation and analyzed from the methodological perspective ; the outcome of these analyses has already been reflected in the articles and presentations of each member of this project and will be further reflected in the already-scheduled scholarly output. In addition, it is important that the international network of scholars has been nurtured through this three-year project, which can function, is already partially functioning, as a foundation for a productive exchange across national boundaries.

在为期三年的研究计划中，我们举办了12个国际研讨会和一个研讨会，所有这些研讨会都围绕着“受众理论”这一中心主题。“我们邀请了来自不同国家的不同历史时期和流派的学者，并进行了广泛的比较研究，以便从观众的角度重新审视艺术史。在这个过程中，围绕着观众的问题出现了各种各样的关键问题：个体观众和群体观众之间的区别;图像和观众之间的关系是如何被相遇的“地点”的性质（仪式性的，仪式性的，还是象征性的）所制约和定义的？中介人（艺术家本人、“e-toki”表演者、艺术史学家、策展人）扮演什么样的角色？第二种呈现/发行方式（如“翻拍”或照片复制）如何影响特定作品/图像的接受？这一系列问题往往是历史上特有的，在三年的调查中已经显现出来，并从方法论的角度进行了分析;这些分析的结果已经反映在该项目每个成员的文章和演讲中，并将进一步反映在已经计划的学术成果中。此外，重要的是，通过这一为期三年的项目培育了国际学者网络，该网络可以发挥作用，已经部分发挥作用，作为跨越国界进行富有成效的交流的基础。