Tension Between Sensation And Logic

The dissertation aims to clarify and classify the aesthetics theory of Gilles Deleuze in "Francis Bacon:Logic of Sensation", to point out its difficulty as an art interpretation; and also tries to compared it with other theory in philosophy of art and the reality in the appreciation or creation of contemporary art, to analyze the dilemma between the traditions of logic and sensation. The research method mainly includes text parsing, combined with empirical study of art works, comparative study with other theories of art to give a whole and clear picture of the tension between sensation and logic, body and mind, image and language, art and philosophy presented in Deleuze’s work. The dissertation includes following parts:first an introduction of the history backgrounds of both history of art and history of philosophy of art, to show that the question of art interpretation was raised in philosophy of art with in the evolution of contemporary art. The second is to reveal the reason why Deleuze under such context, chosen the work of Francis Bacon as a model:that Bacon tried hard to get rid of the traditional narrative structure of painting to express directly by sensation, as to make artwork speak for itself. The third is to comb the three key concepts, which are body, sensation and force, to describe and explain Deleuze’s aesthetics in analysis of paintings. Lastly, through combine Deleuze’s theory with Bacon’s work to complete a metaphor of body and mankind, to point out Deleuze’s interpretation is still a narrative one which is bounded to reorganization and figurative understanding:Deleuze’s interpretation falsifies the independence of Bacon’s work by interpretation. This dilemma is very possible lying on the narrative character of language itself. At the end the dissertation will try to mediate this dilemma by the freedom of individuals to chose their own expressions. The creative points of this dissertation compared with related researches are as follow:for the first time to point out the importance and particularity of Logic of sense in Deleuze’s aesthetics, and also for the first time point out the dilemma in it, from perspectives not only of the content of an art theory but also of the form of it, so that to show Logic of Sensation is not only a model of Deleuze’s aesthetics, but also a model of the question of art interpretation in philosophy of art. The achievement has innovation and theoretical value, and even has some practical value in the creation and appreciation of contemporary art.