Research On Foucault’s Archaeology Of Painting:the Aesthetical Dimension Of The Archaeology Of Knowledge

The dissertation researches on Foucault’s archaeology of painting from epistemological perspective which aims to provide an aesthetical dimension of Foucault’s archaeology of knowledge by demonstrating painting’s positivity, indicating the episteme of painting discourse in a specific age, and specifying its association with contemporary philosophical discourse. The research method mainly includes text parsing, combined with the philosophy of Foucault of his archaeological period, the method of discourse analysis, and theory of episteme, to backward painting archaeology’s theory origin, clarify its methodological principles, as well as the internal logic of its practice. The dissertation includes following parts:first an introduction of the theoretical background of the archaeology of painting, namely the archaeology of knowledge, by clarifying it’s method of discourse analysis and the theory of episteme. The second is to justify the positivity of the painting discourse, depict its very method of discourse analysis, indicate the relationship between paining discourse and episteme, and explore the inner logic of Foucault’s archaeological practice of painting, notably, the critique of representation. Lastly, reformulate Foucault’s painting archaeological practice, by the clue of representation critique. Foucault demonstrates the transition of painting from classic to modern times of the birth and demise of representation, simultaneously, he designates that the status of representation endures a rupture from classical episteme to modern episteme as well. And he elucidates the philosophical reflection on representation, from the ancient Descartes to modern time Kant until Nietzsche. The creative points of the dissertation are as follow:on the one hand offering a systematic research on painting archaeology fist time, on the other hand providing an aesthetical dimension of Foucault’s archaeology of knowledge.