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Die bladsy is laas op 1 Mei 2017 om 20:44 bygewerk. Raamwerk vir interkulturele en interdissiplinere perspektiewe op kunsgeskiedenis
South African Journal of Art History Volume 02 (1987)
Uitgaande van twee universele dimensies van die bestaan, naamlik individualiteit en gemeenskaplikheid, word 'n strukturele model van die bestaan van enige entiteit geponeer. Deur die model op die bestaan van 'n werk as betekenisdraer toe te pas, word 'n strukturele model van betekenis verkry, wat vier gelykwaardige en samehangende aspekte van betekenis artikuleer: as betekenisdraer is 'n werk tegelykertyd teken, indruk, uitdrukking en matrys. In 'n spesifieke werk of kultuur se realisering van die algemene betekenisstruktuur, kan die vier pole differensieel klem ontvang, waarmee 'n raamwerk voorsien is om hermeneuties die betekenisprofiele van werke, oeuvres, style, tydperke en kulture te ondersoek deur achronies, sinchronies, diachronies en vergelykend te werk te gaan. Die raamwerk vir denke oor bestaan en oor beteken open ook interdissiplinere perspektiewe op Kunsgeskiedenis, aangesien dit 'n aantal interdissiplinere modelle wat hul waarde vir die Kunsgeskiedenis reeds bewys het, gevoeglik kan akkommodeer, o.a. deur hulle so te artikuleer dat hul strukturele kongruensie met die raamwerk en met mekaar duidelik relief kry.
Starting out from two universal dimensions of existence, namely individuality and communality, a structural model of the existence of any entity is propounded. By applying the model to the significative existence of work, a structural model of meaning is extracted which articulates four equipollent and interrelated aspects of meaning: by having meaning, a work is at the same time sign, impression, expression and matrix. When a specific work or culture realizes this universal structure of meaning, these four aspects may receive differential emphasis. This fact renders a framework for the hermeneutic investigation of the meaning profiles of works, oeuvres, styles, periods and cultures by making achronic, synchronic, diachronic and comparative analyses. The framework for the study of existence and meaning also opens interdisciplinary perspectives on Art History, as it can readily accommodate a number of interdisciplinary models of proven value for Art History by articulating them in such a way that their structural congruence to the framework and to each other becomes obvious.
Name: Heidema_Raamwerk( ...
South African Journal of Art History Volume 02 (1987) 14