延伸的邊界：傑洛姆（Jean-Léon Gérôme）1847-1867年間歷史畫研究

以作者查詢圖書館館藏

、以作者查詢臺灣博碩士

、以作者查詢全國書目

、勘誤回報

、線上人數：25

、訪客IP：3.149.255.162

姓名

蘇文惠(Wen-Hui Su) 查詢紙本館藏

畢業系所

藝術學研究所

論文名稱

延伸的邊界：傑洛姆（Jean-Léon Gérôme）1847-1867年間歷史畫研究
(Extending Borders:A Study in Jean-Léon Gérôme’s History Painting From 1847 to 1867)

相關論文

★ 怪誕的存有，優雅的死亡－湯姆斯．羅蘭森的《英國死亡之舞》	★ 流動的現代性符號— 法蘭西．畢卡畢亞1913-1920年的機械作品
★ 美國之道──Stephen Shore的公路攝影	★ 頹廢與現代之美:比爾茲來的女性形象研究
★ 從哲學化到體制化：早期觀念藝術的終結、離散或轉型	★ 藝術武器─喬治‧葛洛茲的政治諷刺圖像
★ 紀實與抒情：黛安．阿勃絲《無題》系列中的社會邊緣人形象	★ 黑外套與白襯衫：羅曼‧布魯克絲的陽剛女性肖像研究
★ 米萊恩．夏皮洛之「女像」(Femmage)：裝飾的愉悅和政治性	★ 庫爾貝裸女畫與大眾色情/情色文化的辨證
★ 日常的反身與政治—安內‧梅莎潔1970年代藝術實踐	★ 方言的發散：街頭、展覽、消費場域的臺灣塗鴉次文化
★ 當代的叛亂，傳統的燔犧：森村泰昌的跨界主體	★ 全視之眼：Andreas Gursky的攝影美學與社會意涵
★ 想/ 像的雙面繆思：蘇菲．卡勒的《真實故事》	★ 光照之域:Philip-Lorca diCorcia的編導攝影研究

檔案

[Endnote RIS 格式]

[Bibtex 格式]

[相關文章]

[文章引用]

[完整記錄]

[館藏目錄]

[檢視]

[下載]

本電子論文使用權限為同意立即開放。
已達開放權限電子全文僅授權使用者為學術研究之目的，進行個人非營利性質之檢索、閱讀、列印。
請遵守中華民國著作權法之相關規定，切勿任意重製、散佈、改作、轉貼、播送，以免觸法。

摘要(中)

歷史畫是Jean-Léon Gérôme (1824-1904) 一生創作的重要主題之一。本論文以他在1847到1867年間的歷史畫為主，檢視他在完成美術學院教育成為專業畫家之後，如何逐漸改革學院規範，建立個人特色，成為當時最具聲望的藝術家之一。他的作法同時受到讚美與質疑，本論文重新探勘史料，研究兩派意見產生歧異的原因，Gérôme個人在理論與實踐之間的落差，以及歷史畫定義與實踐在十九世紀中轉變的情況，並從十九世紀脈絡與當代觀點理解Gérôme的藝術成就。
法國皇家繪畫與雕刻學院在十七世紀創立之初即提出一套規範，將繪畫種類分級，歷史畫由於被賦予歷史畫崇高的教育與道德使命，因此處於最高階地位。此套價值觀在十九世紀初有逐漸改變的趨勢，到十九世紀中葉時，原先屬於最低階的風俗畫價值亦開始受到肯定，出現融合歷史畫與風俗畫風格。Gérôme在美術學院所受的教育仍強調古典主義價值，然而他亦受外在美學與史學潮流影響，特別是實證主義者Hippolyte Adolphe Taine（1828-1893）的觀點，使他的歷史畫與過去的歷史畫相較之下，高度寫實的程度如同照片效果，此風格乃奠基於實際觀察與參考考古文獻，追求如科學般客觀再現，方法上採取不留個人筆觸，冷靜描繪畫中近乎真實的場景構圖，並從戲劇觀點決定時刻選擇與建構場景空間，帶領觀眾從全知者的角色共同參與歷史事件，如同偷窺者般凝視畫中女體與人物，享受觀看時所擁有的權力感。
歷史畫不因Gérôme而墮落或死亡，而是歷史畫定義擴充。擴充的原因受到內外兩方面的因素影響。從藝術內在因素來看，歷史畫的創作理論與實踐，歷經兩百年演變已漸趨僵化，藝術家轉而尋找其他再現手法，而畫作的效果從原先著重在表現思想與道德，轉為著重表現人物的情感。從外在環境因素來看，經濟興盛，沙龍展開放，觀眾階層向下擴充，大眾文化美學受到藝術家重視。Gérôme將歷史畫從原先神聖不可侵犯的高度拉至人人皆可欣賞的藝術，不再如過去需要具有一定的學識背景才能理解畫作內容，畫中人物仍以皇室貴族為主，但是其行徑並未必高尚，歷史畫原先的教育與道德功能轉為以娛樂性為主。其次，攝影術發明則影響人們觀看的方式與對真實的定義，藝術效果越接近照片者彷彿也是越接近真實本身。

摘要(英)

Throughout the life of Jean-Léon Gérôme (1824-1904), history was one of his most important subjects. This thesis focuses on his history painting from 1847 to 1867, when he became a professional artist after finishing the curriculum at the Ecole des Beaux-Arts. He changed the norms of academic tradition, gradually establishing his own style, and becoming one of the most influential artists in mid-nineteenth-century France. His style was both highly valued and harshly criticized at the same time. This study reexamines the archives to uncover the main reason for the divergent opinions, namely that the definition and the practice of history painting as a whole was changing during the mid-nineteenth century. I also revaluated his artistic achievement from the context of nineteenth-century and contemporary perspectives.
When L’Académie Royale de Peinture et Sculpture was founded in the seventeenth century, it proposed a set of norms in which paintings were ranked according to their subjects. Bestowed with both educational and moral missions, history painting sat atop the hierarchy. However, this set of rigid norms began to be questioned in early nineteenth century, as some art critics grew to value genre painting, the lowest ranking subject. Subsequently, a new hybrid style appeared, combining history and genre painting.
As a student at Ecole des Beaux-Arts receiving a conventional academic education, Gérôme highly valued the classical principles. However, contemporary developments in aesthetics and historiography shaped his style as well, especially from the positivist philosopher Hippolyte Adolphe Taine (1828-1893). His painting, as a result, differed from the history painting of the previous two centuries. His art was based on observation and archeological documentation, in order to be as objective as a science. He left no trace of personal brush work on the surface, constructed a cold, photographic setting, presented moments and pictorial space from the viewpoint of drama, and engaged viewers in the historical events, as ominiscent and powerful voyeurs gazing at female nudes and characters in the paintings.
History painting did not die or degenerate because of Gérôme; instead, it eventually expanded its boundaries. Motivations both internal and external to the art itself drove the expansion. Internally, as the theory and practice of history painting had become petrified, artists sought other representation and styles. The major effect on history painting, as a result, changed from focusing on moral meaning to more emotional expression. Externally, the social environment changed. Viewers consisted of a broader range of classes, and more and more painters like Gérôme emphasized a popular aesthetic. History painting thus descended from a sacred height to a level that everyone could appreciate. It no longer required viewers to have good knowledge of history. The characters in the painting still belonged to the ruling class, but their behavior was not necessarily noble and respectful. Its function transformed from educational and moral to more entertaining. Besides, the invention of photography affected the way of seeing and defining truth. While the overall effect was more like photography, for Gérôme, painting itself seemed closer to historical reality.

關鍵字(中)

★ 學院藝術
★ 歷史畫
★ 歷史風俗畫

關鍵字(英)

★ Jean-Leon Gerome
★ History painting
★ historical genre
★ academic art

論文目次

論文提要………………………………………………………………………… i
Abstract …………………………………………………………………….…… ii
致謝詞…………………………………………………………………………..iv
緒論
一、研究動機與目的…………………………………………………………………… 1
二、研究範圍…………………………………………………………………………. 4
三、文獻概述…………………………………………………………………………. 8
四、文章架構…………………………………………………………………………. 11
第一章變動中的學院傳統……………………………………………………. 14
第一節十九世紀初歷史畫的轉變……………………………………15
第二節歷史風俗畫的興起……………………………………………23
第三節風俗畫價值的肯定…………………………………………..31
小結
第二章Jean-Léon Gérôme 藝術風格的形成………………………………….41
第一節早期古典教育………………………………………………. 41
第二節藝術風格傳承：Delaroche, Gleyre …………………………... 44
一、Delaroche 的教學方法…………………………………………… 44
二、Delaroche 對Gérôme 的影響…………………………………….. 47
三、Gleyre 的風格…………………………………………………….. 50
四、Gleyre 對Gérôme 的影響………………………………………. 51
第三節Gérôme 的藝術理念…………………………………………. 54
一、追求理想美……………………………………………………… 54
二、知識存在於細節之間………………………………………….. 56
三、動作即生命……………………………………………………… 58
四、對當代藝術的批評……………………………………………… 60
第四節外在環境的影響………………………………………………62
一、加入商業藝廊…………………………………………………….62
二、美術學院課程的改革…………………………………………….63
三、從接受到拒絕官方委託案……………………………………...64
四、近東之旅………………………………………………………...64
五、攝影術的應用…………………………………………………….65
小結…………………………………………………….……………….66
第三章Gérôme 的藝術實踐…………………………………………………… 67
第一節1847-55：在傳統中找出路……………………………………… 68
一、新希臘風格………………………………………………………………68
二、追隨大師風格的宗教、寓言題材作品……………………………….. 71
三、充滿詩意想像力的神話與小說題材…………………………………… 74
四、1847-55 年間Gérôme 的歷史畫特色…………………………………… 77
第二節一八五六到一八六七年間：歷史重現….…………………………79
一、墮落的歷史…………………………………………………………….…80
1. 殘暴的羅馬人…………………………………………………………82
2. 不適任的國王…………………………………………………………82
3. 爭議性判決……………………………………………………………85
4. 英雄之死………………………………………………………………88
二、法蘭西帝國的今與昔……………………………………………………92
三、1856-67 年間Gérôme 的歷史畫特色……………………………………...94
小結……………………………………………………………………………..99
第四章Gérôme 歷史畫的意義..…………………………………………..… 101
第一節十九世紀脈絡的觀點……………………………………………... 101
一、實證主義史學觀…………………….…………………………………... 101
二、實證主義美學與歷史畫……………………………………..… 105
第二節當代詮釋觀點…………………………………………………..…. 112
一、女性裸體的問題……………………………………………………..…. 112
二、媚俗、大眾文化與學院藝術………………………………………….. 114
小結……..………………………………………………………………………..120
結論…………………………………………………………….………………….123
參考書目………………………………………………………….……………….128
附錄一：圖表：1847-1868 年間Gérôme 於沙龍展出的畫作清單…….………133
附錄二：Gérôme 個人年表與當代歷史事件對照………………………….….. 135
圖版……………………………………………………………………………....138

參考文獻

參考書目
西文部分：
Ackerman, Gerald M. Charles Bargues avec le concours de Jean-Léon Gérôme: Cours de Dessins. Paris : ACR Edition, 2003.
--- “Gérôme and Manet,” Gazette des Beaux-Arts, Sept. 1967.
--- “Gérôme's Oriental Paintings and the Western Genre Tradition,” Arts Magazine (Mar 1986):75-80.
--- Jean-Léo Gérôme: His Life, His Work. Paris: ACR Edition, 1997.
--- Jean-Léon Gérôme : Monographie et catalogue raisonné. Paris : ACR Edition, 2000.
--- La Vie et l’oeuvre de Jean-Léon Gérôrme. Paris: ACR Edition: 1986.
--- “The Neo-Grec: A Chink in the Wall of Neoclassicism,” The French Academy: Classicism and its Antagonists. June Hargrove, ed. Princeton: Associated University Press, Inc. 1990.
--- “Thoughts on Finishing a Monograph on Gérôme,” Arts Magazine, (Jan 1986): 80-85.
Angrand, Pierre. “Oedipe enfant' et le 'Combat de Coqs'--J.F. Millet, Léon Gérôme et la Critique en 1847,”Gazette des Beaux-Arts (Nov 1975):139-146.
Boime, Albert. “Gérôme and the Bourgeois Artist’s Burden,” Arts Magazine, 57 (Jan. 1983): 64-73.
--- “Going to Extreme over the Construction of the Juste Milieu,” in The Popularization of Images: Visual Culture Under July Monarchy, Petra ten-Doesschate Chu and Gabriel P. Weisberg, eds. Princeton: Princeton University Press, 1994.
--- The Academy and French Painting in the Nineteenth Century. New Haven:Yale University Press, 1986.
--- Thomas Couture and Eclecticism Vision. New Haven: Yale University Press,1980.
--- “The Second Empire’s Official Realism,” The European Realist Tradition, Gabriel P. Weisberg, ed. Bloomington: Indiana University Press, 1982.
Bohm-Duchen, Monica. The Nude. London: Scala Pulications Limited, 1992.
Bryson, Norman. Tradition & Desire : From David to Delacroix. Cambridge: Cambridge University Press, 1984.
--- Word and Image French Painting of the Ancien Regime. Cambridge, New York: Cambridge University Press, 1981.
Chu, Petra ten-Doesschate. Nineteenth Century European Art. New York: Abrams, 2003.
--- “Pop Culture in the Making: the Romantic Craze for History,” The Popularization of Images: Visual Culture Under July Monarchy, Petra ten-Doesschate Chu and Gabriel P. Weisberg, eds. Princeton: Princeton University Press, 1994.
Crossley, Ceri. French historians and romanticism: Thierry, Guizot, the Saint-Simonians, Quinet, Michelet. London: Routledge, 1993.
Cugnier, Gilles. Jean-Léon Gérôme (1824-1904), peintre, sculpteur et graveur, ses ouvres conserve dans les collections français publiques et privées. Vesoul : la Ville, 1981.
Dayton Art Institute, Minneapolis Institute of Arts, Walters Art Gallery, Jean-Léon Gérôme (exhibition catalouge). Dayton: Dayton Art Institute, 1972.
Debord, Guy. The Society of Spectacle. New York: Zone Books, 1994.
Dewald, Jonathan. “A La Table Magny: Nineteenth Century French Men of Letters and the Sources of Modern Historical Thought,” American History Review (Vol. 108, issue 4, Oct. 2003), 1009-1034.
Diderot, Denis; Geoffrey Bremner, ed and trans. Denis Diderot: Selected Writings On Art and Literature. New York: Penguin Books, 1994.
Duro, Paul, The Academy and the Limits of Painting in Seventeenth-Century France. New York: Cambridge University Press, 1997
Gérôme, Jean-Léon. Notes Autobiographiques. Vesoul: SALSA, 1981.
Goldstein, Carl. Teaching Art: Academies and Schools From Vasari to Albers. Cambridge: Cambridge University Press, 1996.
--- “Towards a Definition of Academic Art,” Art Bulletin 57 (Mar 19):102.
Gotlieb, Marc Joseph. From Genre to Decoration: Studies in the Theory and Criticism of French Salon Painting, 1850-1900. Ph. D. Dissertation, The Johns Hopkins University, 1991.
Green, Nicholas. “Circuits of Production, Circuits of Consumption: The Case of Mid-Nineteenth-Century French Art Dealing.” Art Journal 48 (Spring 1989):29 .
Gregory, Clive, and others eds. Great Masters of the Western Worlds : The French Classical Tradition. New York Long Island : Marshall Cavendish Corporation, 1990.
Grunchec, Philippe. Le Grand Prix de Peinture: Les Concours des Prix de Rome de 1797 à 1863. Paris : École des Beaux-Arts, 1983.
Harrison, Charles and Paul Wood, Jason Gaiger, eds. Art in Theory: 1815-1900: an Anthology of Changing Ideas. Oxford: Blackwell Publishing, 1998.
Haskell, Francis. History and Its Images: Art and the Interpretation of the Past. New Haven: Yale University Press, 1993.
Hauptman, William. Charles Gleyre, 1806-1874. Princeton: Princeton University Press, 1996.
--- “Allusions and Illusions in Gleyre’s Le Soir”. Art Bulletin 60 (June 1978):321-31.
Henning, Edward B. “Patronage and Style in the Arts: a Suggestion Concerning Their Relations,” The Journal of Aesthetics and Art Criticism (Vol. 18, No. 4, June 1960), 464-471.
Holly, Michael Ann. Past Looking: Historical Imagination and the Rhetoric of the Image. Ithaca: Cornell University Press, 1996.
Holmes, Pernilla K. Popular Subversion : The art and critical review of Jean-Léon Gérôme, 1847-1861. MA Dissertation, Courtauld Institute of Art, 1999.
Honour, Hugh. Romanticism. New York: Penguin Books, 1979.
Johnson, Dorothy. Jacques-Louis-David: Art in Metamorphosis. Princeton : Princeton University Press, 1993.
Kahng, Eik. “L'Affaire Greuze and the Sublime of History Painting,” Art Bulletin 86 (March 2004): 96-114.
Lafont-Couturier, Hélène. Gérôme. Paris: Herscher, 1998.
---- Lafont-Couturier, Hélène, ed. Gerome & Goupil: Art and Enterprise. Paris: Editions de la Reunion des musees nationaux, 2000.
Lecharny, Louis-Marie, L'art pompier. Paris: Presses universitaires de France, 1998.
Lichtenstein, Jacqueline, translated by Emily McVarish. The Eloquence of Color: Rhetoric and Painting in the French Classical Age. Berkeley University of California Press, 1993.
Lombardo, Partrizia. “Hippolyte Taine between Art and Science,” Yale French Studies. (No. 77, 1990), 117-133.
Mainardi, Patricia, Art and Politics of the Second Empire. New Haven and London: Yale University Press, 1989.
--- The End of Salon: Art and the State in the Early Third Republic. Cambridge, New York: Cambridge University Press, 1993.
---- “The Political Origins of Modernism,” Art Journal 45 ( March 1985) : 11.
McWilliam, Neil. “Limited Revisions: Academic Art History Confronts Academic Art,” Oxford Art Journal, v.12, no.2 (1989): 71-86.
Monnier, Gérard. L’art et ses institution en France: De la Révolution à Nos Jours. Paris : Editions Gallimard, 1995.
Nochlin, Linda. “The Imaginary Orient,” The Politics of Vision: Essays on Nineteenth Century Art and Society. NY: Harper & Row Publishers, 1989.
--- “Women, Art and Power,” Women, Art and Power and Other Essays. London: Thames and Hudson, 1989.
Nead, Lynda. Female Nude: Art, Obscenity and Sexuality. London and New York: Routledge, 1994.
Nelson, Robert S. and Richard Shiff, eds. Critical Terms for Art History. Chicago and London: The University of Chicago Press, 1992.
Reid, Phyllida. "Disempowering the hero?": Gérôme's history paintings 1859 -1868. MA Dissertation, Courtauld Institute of Art, 1997.
Pevsner, Nikolaus. “The Nineteenth Century,” Academies of Art: Past and Present. Cambridge: Cambridge University Press, 1940.
Ritzenthaler, Cecile, ed. L’Ecole des Beaux-Arts du XIXe Siecle: Les Pompiers. Paris: Edition Mayer, 1987.
Roland, Barthes. Michelet. Paris: Seuil, 1988.
Rosenblum, Robert. Jean-Auguste-Dominique Ingres. London: Thames and Hudson, 1990.
Schapiro, Meyer. Theory and Philosophy of Art: Style, Artist, and Society: Selected Papers. New York：George Braziller, 1994
Segre, Monique. L'Ecole Des Beaux-Arts : XIXe et XXe siecles. Paris : L'Harmattan, 1998.
Smith, Paul and Carolyn Wilde, eds. A Companion to Art Theory. Oxford: Blackwell Publishing, 2002.
Stoianovich, Traian. French Historical Method the Annales Paradigm. Ithaca, N.Y: Cornell University Press, 1976.
Taylor, Joshua C, ed, Nineteenth Century Theories of Art. Berkeley: University of California Press, 1987.
Trodd, Colin and Rafael Cardoso Denis, eds. Art and the Academy in the Nineteenth Century. Manchester: Manchester University Press, 2000.
Turner, Jane, ed. Dictionaries of Art. New York: Grove Dictionaries Inc., 1996.
Vidal, Mary. “Looking Past the Mirror: Genre Painting Taken Seriously.” Eighteenth-Century Studies, vol 36, issue 1 (Fall 2002): 99.
Walker, John A. and Sarah Chaplin. Visual Culture: An introduction. Manchester: Manchester University Press, 1997.
White, Harrison C and Cynthia A. White, Canvases and Careers: Institutional Change in the French Painting World. Chicago and London: The University of Chicago Press. 1993.
Weinberg, H. Barabra. The Lure of Paris : Nineteenth-Century American Painters and Their French Teachers. New York: Abbeville Press, 1991.
--- The American Pupils of Jean-Léon Gérôme. Fort Worth: Amon Carter Museum, 1984.
Wissman, Fronia E. Bougureau. San Francisco: Pomegranate Artbooks, 1996.
Wright, Beth Segal. Painting and History During the French Restoration : Abandoned by the Past. Cambridge, New York: Cambridge University Press, 1997.
Wright, Beth S, ed. The Cambridge Companion to Delacroix. Cambridge: Cambridge University Press, 2001.
Zerner, Henri, and Charles Rosen, “Le Juste-Milieu et Thomas Couture, “Romantisme et Réalisme, translated by Odile Demange. Paris : Editions Albin Michel, 1986.
中文部份：
Baudelaire, Charles著，郭宏安譯。《1846年的沙龍：波特萊爾美學論文選》(Salon of 1846)。桂林：廣西師範大學出版社，2002年。
Calvert, Clay著，林惠琪、陳雅汝譯。《偷窺狂國家》（Voyeur Nation）。台北：商周出版社，2003年。
Clark, Kenneth著，張漢良等譯。《裸體藝術欣賞》（The Nude：A Study in Ideal Form）。台北：志文出版社，1984年。
Collingwood, R.G. 著，陳明福譯。《歷史的理念》（The Idea of History）。台北：桂冠圖書公司，1992年。
Diderot, Denis 著，陳占元譯。《狄德羅論繪畫》（Diderot Comments About the Painting）。桂林，廣西師範大學出版社，2002年。
Doyle, William著，蔡百詮譯。《法國大革命的起源》（Origins of the French Revolution）。台北：國立編譯館出版，1994年。
Fiske, John著，楊全強譯。《解讀大眾文化》（Reading the Popular）。南京：南京大學出版社，2004年第二版。
Fiske, John著，王曉珏、宋偉杰譯。《理解大眾文化》（Understanding Popular Culture）。北京：中央編譯出版社，2001年。
Greenberg, Clement著，張心龍譯，《藝術與文化》（Art and Culture）。台北：遠流出版社，1997年。
Johnson, Dorothy. 〈哲學的化身：Jacques-Louis David藝術中的身體表現〉。曾曬淑主編，《身體變化：西方藝術中身體的概念和意象》。台北：南天書局，2004.
Kant, Immanuel著，陳曉芒譯。《判斷力批判》（Critique of Judgement）。北京：人民出版社，2002年。
Shennan, J. H. 著，孫慧敏譯，《大革命之前的法國》（France Before the Revolution）。台北：城邦出版社，2000年。
Storey, John. 著，李根芳等人譯，《文化理論與通俗文化導論》（Cultural Theory and Popular culture: an Introduction）。台北：巨流出版社，2003年。
----- 張君玫譯。《文化消費與日常生活》（Cultural Consumption and Everyday Life）。台北：巨流出版社，2002年。
Taine, Hippolyte-Adolphe著，傅雷譯，《藝術哲學》（Philosophe de l’Art）。台北：好讀出版，2004年。
William, Raymond著，劉建基譯。《關鍵詞：文化與社會的詞彙》（Keywords: Vocabulary of Culture and Society）。北京：三聯書店，2005年。
White, Hayden著，劉世安譯。《史元：十九世紀歐洲的歷史意象》（Metahistory: The Historical Imagination in Nineteenth Century Europe）。台北：麥田出版，1999年。
何兆武。《歷史與歷史學》。香港：牛津大學出版社，1995年。
高宣揚。《布爾迪厄》。台北：生智文化，2002年。
季桂保。《布希亞》。台北：生智文化，2002年。
陳坤宏。《消費文化理論》。台北：揚智文化，1995年。
陸揚、王毅選編。《大眾文化研究》。上海：三聯書店，2001年。
陸揚。《大眾文化理論》。台北：揚智文化，2002年。
曹俊峰。《康德美學導論》。台北：水牛出版社，2003年。
蔡石山。《西洋史學史》，第二版。台北：茂昌圖書有限公司，1998年。
黃淑媚。《法國學院派繪畫泰斗：布格羅》。台北：藝術家出版社，2004年。
楊豫。《西洋史學史》。台北：昭明出版社，2000年。
嚴建強，王淵明著，《西方歷史哲學》。台北：慧明文化，2001年。

指導教授

曾少千(Shiao-Chien Tseng)

審核日期

2006-1-24

推文