كليدواژه :
هنر , جنون , امرديونوسوسي , اپيستمه , ايهام
چكيده فارسي :
ميشل فوكو به تاسي از نيچه به نقد مباني متافيزيك غربي مي پردازد. او در اين راستا با افشاء و واژگوني معيارها و اصول بديهي در ساختار قدرت، به تبيين اشكال مختلف غيريت اهتمام دارد. يكي از اين اشكال جنون است كه به زعم فوكو در آثار هنري عصر مدرن متجلي است. هنر در آثار فوكو پيرامون سه مفهوم متمركز است نخست آن كه آثار هنري مي توانند فضاي فكري خاص يك مقطع تاريخي را تا حد زيادي آشكار كنند. دوم، آثار هنري مي توانند مفاهيمي را كه ما از شخصيت در ذهن خود داريم مورد پرسش جدي قرار دهند. سوم، مفاهيم سبك و خلاقيت هنري مي توانند ما را به سوي تفسيري مجدد از انسان يا فاعل تجربه هدايت كنند. در اين مقاله سعي شده است كه تحليلي از شاهكار «ديه گو ولاسكز» يعني نديم ها ارائه شود كه مصداق انديشۀ نخست فوكو است و سپس تحليلي از يكي از نقاشي هاي سورئاليستي رنه ماگريت كه بيانگر فضاي روحي و معنوي خاص تفكر فرهنگي غرب در قرن بيستم است ارائه مي شود. همچنين با ارائه شواهدي از هنر مدرن به ويژه در آثار گويا جنون هنري از منظر فوكو و ارتباط هنر با امر ديونوسوسي نيچه تبيين مي شود و در نهايت هنر به منزلۀ امري رهايي بخش از ساختارهاي مسلط قدرت قلمداد مي شود.
چكيده لاتين :
Foucault’s fi rst major book , Madness and Civilization,
is an examination of the evolving meaning of madness
in European culture, law politics, philosophy and
medicine from the middle ages to the end of the eighteenth
century. It marks a turning point in Foucault’s
thought away from phenomenology toward structuralism:
though he uses the language of phenomenology to
describe an evolving experience of the mad as “the other”,
he attributes this evolution to the infl uence of specifi
c powerful social structures. Foucault’s intellectual
indebtedness to Nietzche is apparent in his writing, yet
the precise nature, extent and nuances of that debt are
seldom explored. Foucault himself seems sometimes to
claim that his approach is essentially Nietzchean. It is
well known that Nietzche plays a special role in Foucault’s
thought, but instead of a lively scholarly interest
in the relationship between the two philosophers, one has
become accustomed to the somewhat mythical account
that reading Nietzche, on a beach under the Italian sun in
1953, liberated Foucault from the infl uence of the three
Hs _ Heggel, Hussrel and Heidegger that dominated
French philosophy at the time. Following Nietzche, Michel
Foucault, the French philosopher and litetetary critic
, puts the foundations of western metaphysics under
question and criticism. Accordingly, he endeavors to
clarify the various forms of otherness through revelation
and inversion of the defi nite criteria and principles in the
structure of power.One of these forms of otherness is
madness that, in Focault’s view, is manifested in the artworks
of modern era. In Focault’s works, art is centered
around three contents. The fi rst one is that artworks can
largely disclose the specifi c intellectual atmosphere of a
historical period.Second, artworks can seriously question
our mentality about characters. Third, the contents of
style and artistic creativity can lead us to a new interpretation
of human, who is the subject of experience.For
over 350 years,art lovers have been fascinated by Las
Meninas. This complex and controversial oil painting is
an incredibly nuanced depiction of life in the court of
King Philip.The title which translates to Ladies in Waiting,
is a turning point in art history for the way in which
Velazquez broke from the stiff formal portraits that typically
defi ned royalty. Perhaps one of the most important
paintings in all western art history, this masterpiece
continues to infl uence artists today. This essay tries to
give an analysis of Diego Velazquez's masterpiece, Las,
which is an evidence for Focault’s fi rst notion. Then, an
analysis of one of Rene Magritte’s surrealistic paintings
is presented which expresses the specifi c spiritual ambiance
of western culture in 20th century.The artistic madness
in Foucault’s opinion and the relationship between
art and Nietzche’s Dionysian matter is also clarifi ed by
presenting evidences from modern art and specially
works of Francisco Goya. Finally, art is considered as a
liberating factor from the dominating structures of power.
