Summary:
The purpose of this paper is to explore the relationship between re-creation and viewer's understanding, and to analyze the reconstruction process of artworks from the perspectives of Gombrich's theory and the theory of situational logic. First, the concept and form of re-creation are reviewed, and the re-conception and interpretation of the original work are emphasized. Secondly, the interactive relationship between the viewer's understanding and re-creation is discussed, and it is believed that the re-created works provide the viewers with new perspectives and ways of thinking, and promote a deep understanding of the original works.
I. Introduction
In contemporary art theory and practice, concepts such as schema theory and situational logic theory provide us with important frameworks and tools for interpreting artworks. These theories not only help us understand the original intention and meaning of the artist's creation, but also reveal the viewer's understanding of the diversity of the work and the process of re-creation. In this context, this paper will focus on Gombrich's reconstruction theory and situational logic theory, and explore their role and significance in the reconstruction of artworks.
II. Schema Theory and the Reconstruction of History
A. Overview of schema theory
Schema theory is an important theory in cognitive psychology, proposed by the German psychologist Gombrich. According to this theory, human beings tend to understand and interpret information based on existing schemas in the cognitive process, rather than simply receiving external stimuli. A schema is a cognitive construct that includes people's expectations, assumptions, and knowledge about a particular situation, concept, or event. Through schemas, individuals can process and process complex information more efficiently, so as to understand and adapt to the world.
In schema theory, Gombrich emphasizes the dynamism and flexibility of schemas. Schemas are not static fixed structures, but are constantly evolving and adjusting with the individual's experience and cognitive processes. When individuals encounter new information, they reason and interpret based on existing schemas, and constantly revise and adjust schemas to fit new situations. Thus, schema theory provides a cognitive framework that helps us understand how individuals process and interpret information in cognitive processes.
B. Panofsky's Theory of Historical Reconstruction
Bartoszewski's theory of historical reconstruction is an extension and extension of Gombrich's schematic theory. According to Panofsky, history is not an objectively existing fact, but the result of an individual's reconstruction and interpretation according to an existing schema in the cognitive process. In Panofsky's view, an individual's understanding and representation of history is influenced by factors such as personal experience, cultural background, and social environment. As a result, the same historical events may be interpreted and reconstructed in different forms in different individuals or groups.
Panofsky's theory of historical reconstruction emphasizes the subjectivity and diversity of historical narratives. He believes that the reproduction of history is not a simple reproduction of objective facts, but the subjective interpretation and processing of historical events by individuals. Therefore, the representation of history is diverse and relative, and different individuals or groups may have different understandings and interpretations of the same event according to their own schemas and experiences.
C. Similarities and differences between the two theories
Joint Points:
Schema-based cognitive models: Both schema theory and historical reconstruction theory are schema-based cognitive models. They believe that individuals tend to understand and interpret information based on pre-existing schemas in the cognitive process, rather than simply receiving external stimuli.
Subjectivity and Relativity: Both theories emphasize the subjectivity and relativity of cognition. They believe that an individual's understanding and interpretation of information is influenced by factors such as personal experience, cultural background, and social environment, and is therefore subjective and diverse.
Dynamics and Flexibility: Both schema theory and historical reconstruction theory emphasize the dynamics and flexibility of schemas. They believe that schemas are not static fixed structures, but are constantly evolving and adjusting with the individual's experience and cognitive processes.
差异:
Differences in objects: Schema theory focuses on an individual's cognition of a general situation, concept, or event, while historical reconstruction theory focuses on an individual's cognition and representation of historical events.
Extension of Theory: The theory of historical reconstruction can be seen as an extension and expansion of schema theory. On the basis of schema theory, it extends the cognitive process to the realm of understanding and representation of historical events.
Degree of reconstruction: Schema theory believes that individuals will reason and interpret information based on existing schemas in the cognitive process, while historical reconstruction theory emphasizes the subjective interpretation and processing of historical events by individuals, which may even lead to the complete reconstruction of history.
III. Gombrich's Scheme of the Reconstruction Theory
A. Conceptual interpretation of Gombrich's scheme for reconstruction
Gombrich's scheme reconstruction theory is an important concept in cognitive psychology, emphasizing that individuals reconstruct and interpret information according to existing schemas in the cognitive process. This theory proposes a cognitive model in which individuals tend to match new information to existing schemas, reconstructing and interpreting the information.
In Gombrich's theory, schema refers to an individual's cognitive structure of expectations, assumptions, and knowledge about a particular situation, concept, or event in a cognitive process. Reconstruction of the program refers to the process by which the individual processes and interprets new information according to the existing program. Through the reconstruction of the program, individuals can understand and interpret complex information more efficiently, so as to achieve understanding and adaptation to the world.
B. The relationship between the reconstruction of the programme and the original meaning of the work of art
In the process of creating and understanding the work of art, Gombrich's theory of reconstruction of the scheme is of great significance. Works of art are often complex carriers of information that require the viewer to understand and interpret through cognitive processes. Gombrich's theory provides a framework for explaining the process of understanding a work of art, emphasizing the process by which individuals reconstruct a work of art according to an existing cognitive structure.
The original meaning of a work of art refers to the original intention and intrinsic meaning that the artist wants to express when creating it. However, in the cognitive process of the viewer, the original meaning of the artwork is not always directly revealed, but needs to be processed and interpreted through the cognitive activities of the viewer. Gombrich's reconstruction theory of the scheme suggests that the viewer will reconstruct the work of art according to the existing cognitive structure when understanding it, so as to generate their own understanding and interpretation.
C. The "projection" of the mind: the re-creation of the work by the viewer
Gombrich's reconstructive theory of the scheme emphasizes the individual's initiative and participation in the cognitive process. The viewer does not passively accept the information presented by the artwork, but processes and interprets the work through its own cognitive activities. This cognitive activity can be understood as a kind of mental "projection", that is, the viewer projects his or her own cognitive structure onto the work of art, thus generating his own understanding and interpretation.
Through the "projection" of the mind, the viewer recreates the artwork, giving it new meaning and value. This kind of re-creation is not simply a repetition of the artist's original intention, but a personalized interpretation and processing of the work based on the viewer's own experience, emotion, and cognitive structure. As a result, each viewer may have different understandings and interpretations of the same work of art, presenting diversity and richness.
IV. Situational Logic Theory and the Pursuit of the Original Meaning of a Work of Art
A. Fundamentals of Situational Logic Theory
Situational logic theory is a cognitive theory that emphasizes the contextual dependence of language and behavior. The theory argues that understanding language and behavior requires taking into account the specific context and context in which it is placed, rather than relying solely on the literal meaning of the language itself. Situational logic theory holds that the meaning of language and behavior is determined by the context and context in which it is placed, rather than simply by the language or behavior itself.
In the process of understanding a work of art, the theory of situational logic provides an important cognitive framework. A work of art is often not only an expression of language or form, but more importantly the context and context in which it is placed. Situational logic theory holds that in order to understand the original meaning of a work of art, it is necessary to take into account the specific context and context in which the work is located, rather than relying solely on the form or content of the work itself.
B. The artist's and the viewer's understanding of the original meaning of the work
Artists and viewers are often influenced by the theory of situational logic when understanding the original meaning of a work of art. When creating a work of art, an artist is influenced by his or her own emotions, experiences, and cultural background, and these factors are reflected in the form and content of the work. Therefore, the artist's understanding of the original meaning of the work is based on the specific context and context in which it was created.
The viewer is also influenced by the theory of situational logic when understanding the original meaning of the work of art. The viewer's understanding depends not only on the form and content of the work itself, but more importantly, on the specific context and context in which the work is situated. The viewer may interpret the original meaning of the work and give it new meaning and value through an understanding of the context and context in which it is located.
C. The relationship between the viewer's understanding of metaphor and situational logic
Situational logic theory is of great significance to the viewer's understanding of metaphors in works of art. Metaphor is a common figure of speech in works of art that expresses abstract thoughts and emotions through metaphors and symbolism. The viewer's understanding of metaphor needs to take into account the specific situation and context in which the work is situated, and the theory of situational logic provides a framework for explaining how the viewer understands the metaphor.
When the viewer understands the metaphor in the work, he or she will take into account the specific situation and context in which the work is located, so as to better understand the meaning of the metaphor. Situational logic theory believes that the meaning of a work is determined by the context and context in which it is placed, and the viewer needs to interpret the metaphor through the understanding of the situation and context, and give it meaning and value.
V. The re-creation of the work of art and the viewer's understanding
A. Definition and form of recreation
Re-creation refers to the process by which an artist or other creator re-conceives, re-interprets, or re-interprets an original work. This re-creation can take many forms, including but not limited to:
Art Form Transformation: Transforming an original work from one art form to another, such as adapting a painting into a dance performance, or rearranging a song into a symphony.
Cross-cultural re-creation: Re-interpreting original works in different cultural contexts to reflect the multicultural character of contemporary society. This form of re-creation often involves the transformation and adjustment of language, customs, beliefs, etc.
Reinterpretation and Critical Re-Creation: The artist expresses reflection and critique of contemporary social, political, or cultural realities through the reinterpretation and critique of the original work. This form of re-creation often has strong practical significance and social value.
B. The connection between the viewer's understanding and re-creation
When the viewer understands a work of art, it is often influenced by re-creation. Re-creation can provide the viewer with new perspectives and ways of thinking, thus prompting them to have a deeper understanding and awareness of the original work. Specifically, the connection between re-creation and viewer's understanding is manifested in the following aspects:
Inspiring exchange of ideas: Re-creations often lead to an exchange of ideas and discussions between viewers. Different forms of re-creation may stimulate different interpretations and understandings of the original work, thus promoting the collision of ideas and inspiring exchanges between the viewers.
Expanding the Possibilities of Interpretation: The re-created work offers the viewer the possibility to expand the interpretation of the original work. Through the understanding and appreciation of the recreated work, the viewer can further explore the possible hidden meanings and multiple interpretations in the original work.
Deepen emotional resonance: Re-creating a work may elicit a deeper emotional resonance in the viewer's mind. Through the experience and feeling of new emotions and experiences presented in the recreated works, the viewer can further deepen their understanding and empathy with the emotions expressed in the original works.
C. The viewer's multiple understandings of the work and the meaning of re-creation
There is a strong correlation between the viewer's multiple understandings of the artwork and its re-creation. The re-created work offers the viewer the possibility of multiple interpretations of the original work, and at the same time, in turn, is influenced by the multiple understandings of the viewer. Specifically, the multiple understandings and re-creations of the works are reflected in the following aspects:
Enriching the Layers of Meaning of the Work: The multiple understandings of the work by the viewer give the work a richer layer of meaning. Recreated works can present different perspectives and interpretations of the original work, thus providing viewers with a more diverse path of understanding and feeling.
Promote the depth of aesthetic experience: The significance of the multiple understandings and re-creations of the work by the viewer is to promote the depth of the aesthetic experience. Through multiple understandings of the works and the appreciation of the recreated works, the viewer can deeply explore the artistic significance and aesthetic connotation presented by the works, thereby enhancing the depth and breadth of the aesthetic experience.
Promoting Cultural Exchange and Dialogue: The significance of the multiple understandings and re-creations of the works by the viewers is also reflected in the promotion of cultural exchange and dialogue. Viewers with different cultural backgrounds and perspectives may have different understandings and interpretations of the same work, and through the exchange and dialogue of these different understandings, cross-cultural communication and understanding can be promoted, and the horizons can be expanded and humanistic emotions can be enhanced.
VI. Conclusion
This paper explores the relationship between re-creation and viewer understanding, as well as the influence of Gombrich, situational logic, and schema theory on the re-creation of artworks. First, we reviewed the definition and form of re-creation, pointing out that re-creation is the process by which an artist re-conceives, re-interprets, or re-interprets the original work. Next, we discussed the relationship between the viewer's understanding and re-creation, and pointed out that the re-creation of the work can provide the viewer with a new perspective and way of thinking, prompting them to have a deeper understanding and awareness of the original work.
Author: Lu Xilin
Bibliography:
Jacobson, M. F. (1987). Reading for the Plot: Design and Intention in Narrative. Harvard University Press.
Elkins, J. (2003). Pictures and Tears: A History of People Who Have Cried in Front of Paintings. Routledge.
Disclaimer: All articles (including graphics, papers, audio and video, etc.) under my account can be reprinted or quoted at will after 72 hours from the date of publication, without informing me. If you need to request a manuscript, please contact [email protected]