【摘要】 马戈利斯的艺术定义，即艺术品的通用公式，将传统的规范性定义具体化为对艺术品的描述性表述，主张“艺术品是以物理形式现身并在文化中浮现出来的实体”，进而揭示艺术的本质。识别艺术品的身份是以物理艺术媒介物为基础，由读者主导的感知过程。这要求读者把艺术品置于具体的文化语境之中，将对物理艺术媒介的感官感知和对审美艺术设计的思维感知融合在一起。他坚信艺术始终处于流变之中，因此，对艺术品身份的识别也应该被视为人类理解艺术的历史性发展过程。最后，他又为定义附加了“类型”“殊例”“宏大类型”及“首要例子”理论，来辨别不同体裁的艺术品，尤其为文学艺术品身份的识别提供了具有实践意义的策略和方法。更多还原

【Abstract】 Margolis’ definition of art, namely his generic formula of artworks, concretes the traditional normative art definition into the description of artworks, asserting that“artworks are physically embodied and culturally emergent entities”, which further uncovers the essence of art. Identifying a work of art is a reader-driven perceptual process which takes the physical art medium as its basis. It requires readers to situate artworks within the specific culture context and combine the sensory perception of the physical art medium and the thinking perception of an aesthetic design. Since he insists that the art is in flux all the time, identifying a work of art should be considered as a historical process of perceiving art as well. Finally, he adds the theories of“type”,“token”,“megatype”and“prime instance”to the definition of art, to identify artworks of different genres, providing practical strategies and methods for identifying the identity of literary artworks in particular.更多还原