流動的現代性符號—
法蘭西．畢卡畢亞1913-1920年的機械作品

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：31

、訪客IP：18.219.236.199

姓名

賴美杏(Mei-hsing Lai) 查詢紙本館藏

畢業系所

藝術學研究所

論文名稱

流動的現代性符號— 法蘭西．畢卡畢亞1913-1920年的機械作品
(The Mobile Sign of Modernity—Francis Picabia’s Machine Works from 1913 to 1920 )

相關論文

★ 延伸的邊界：傑洛姆（Jean-Léon Gérôme）1847-1867年間歷史畫研究	★ 怪誕的存有，優雅的死亡－湯姆斯．羅蘭森的《英國死亡之舞》
★ 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)

對於20世紀初的現代藝術家而言，現代性的體驗成為藝術表現中的重要課題，而「機械」的主題也始終帶有無窮的吸引力。法籍藝術家法蘭西．畢卡畢亞在1913年至1920年間所創作的機械作品，便展現了現代藝術家對於動盪世紀初的獨特感知與意識。這些機械作品不僅展現了藝術家與現代性互動的獨特典範，機械作品中模擬兩可的性別意象與突出的現成物特質，更不斷地跨越機械與身體、男性與女性、藝術與非藝術之間的既定界分，促成了意義的流動。
機械作品對於既有分野的逾越，也使得這些機械型態體現了相當特殊的意象與現代議題，目前對於這些作品，學界已經有了不少的詮釋與解讀，主要鎖定在其中的性別意象、作品與現代藝術的關係上。本文將藉由「性別視野的擴展」與重新將作品置於「前衛主義藝術脈絡」，延伸這些面向的解讀。同時，作品的探討方式，也將依機械所構成的意象區分為三類，這三類分別為(一)機械肖像、(二)性別隱喻的機器、(三)達達機器。
在這三類作品中，第一類主要聚焦於美國現代社會與現代藝術圈對畢卡畢亞的刺激啟發，藉由當時美國現代藝術291圈所提倡的實驗與創新精神，探討畢卡畢亞發展出機械肖像創作的美國藝術圈脈絡。在第二類性別隱喻的機器中，這一類帶有兩性隱喻的機械則構成兩大主題：一為極度情欲化的非傳統女性形象；另一為存在具有強烈性幻想的世界中，由機器與性的結合誘發出荒誕氛圍的「自動愛情機器」(automatic love machine)。這兩類性別意象，顯示出性別界定逐漸鬆動而面臨轉變的狀態，而為了不使這個議題的探討成為「男性」與「女性」二分性別角色的鞏固，在第二類的作品中，我們將以「主體性」—藝術家自我定位與認同的視角，取代「男性」或「女性」的二分觀點，來看界線趨向模糊的現代性別意識。
最後，在第三類的達達機器，我們則試圖藉由機械的「現成物」特質，重新探討這些機械作品與達達精神的關聯。畢卡畢亞在這些作品中，重新將焦點鎖定在現代機器的異質性能為藝術形式帶來的革新，使得問題再度回到藝術的「再現形式」上。因而，在第三類的機械圖像中，我們將回到歐洲達達的脈絡，藉由畢卡畢亞運用現成物與蘇黎世達達運動操作語言符號的相似策略，關注達達破壞性的宣言與反藝術姿態背後的積極創造面向，並藉由美國記號學家普爾斯(Charles Sanders Peirce)的理論，重新框架其操作符號的手法，並藉此抽取出更寬廣而多面向的符號意涵。

摘要(英)

For an artist living in the early twentieth century, the subject matter of “machine” has become become an indispensable and attractive element to express the fleeting experience of modernity. Francis Picabia (1879-1953), the French and Cuban artist, produces a body of work that exemplifies a unique perception of the turmoil of his times. Between 1913 and 1920, Picabia had a dramatic change in his painting by turning from the extremely abstract orphic form to the figurative mechanomorphic theme. These machine works, while keeping transgressing the boundary between the human body and machine, the male and female, art and non-art, generate fluid and multiple meanings and mark an important phase of Picabia’s artistic life.
Studies about Picabia’s machine works have been developed since 1970s. The recent arguments and issues circle mainly around the erotic image the machine embodies and the modern art context where the machine works are created. In this thesis, I intend to extend these points of view by broadening the feminist reading of those eroticized machines and re-placing these works in the avant-garde context. Meanwhile, these works will also be discussed in three categories according to images they represent. They are respectively 1) machine portrait, 2) machine of sexual metaphors, 3) Dada machine.
In the first category, I try to focus on the stimulation America has given to Picabia. The experimental and innovative spirit pursued by the American artistic circle has been greatly neglected, but in fact plays a crucial part in forming Picabia’s machine style. I will reconstruct the importance of the American artistic circle “291” in the first place. In the second category, the machine of sexual metaphor constitutes two major themes : 1) the eroticized and radical female image, 2) the absurdly automatic love machine. In interpreting such sexual images, feminist scholars tend to see such expression as a metaphor of the male anxiety; however, I will approach this issue in a broader sense by recasting the question to be how the artist shapes his subjectivity and identity in the modern society. It will replace the dichotomous viewpoint of seeing the works either as female or male and represent a modern consciousness toward sex, whose definite boundary has been obliterated.
In the third category, I intend to discuss the relation between these works and the dada spirit since these machines have been frequently seen as “Readymade.” In these works, Picabia stresses on the idea of the machine’s being non-art and makes it as an issue revolving around the nature of Art, what and how Art represents. I try to contend that there is similarity between the way Zurich Dadaists destruct linguistic signs and how Picabia manipulates and juxtaposes pictorial and linguistic signs. Based on Charles Sanders Peirce’s theory, I will construct a semiotic frame and try to extract multiple readings from the diverse characteristics of the Dada machine.
With these three dimensions, the machine will finally be read as a mobile sign of modernity.

關鍵字(中)

★ 現成物
★ 現代性
★ 機械肖像
★ 性意象
★ 達達

關鍵字(英)

★ machine portrait
★ sexual image
★ Dada
★ readymade
★ modernity

論文目次

中文提要..........................................i
英文提要..........................................ii
誌謝..............................................iv
目錄..............................................v
緒論 1
一、研究動機…………………………………………………1
二、問題意識與論文架構……………………………………4
三、文獻回顧…………………………………………………7
第一章機械肖像前的重要作品(1913-1915) 12
一、抽象表現風格: 感官印象的軌跡…………………… 12
二、機械元件: 現代形式的初探………………………… 23
第二章《291》與1915年的機械肖像作品:機械型態的確立 31
一、《攝影》中的「攝影」與「藝術」議題 ............31
二、《291》與畢卡畢亞的機械肖像…………………………38
三、《291》中關於「女性」的創作…………………………44
第三章性別化的機器 : 女孩與單身漢 51
一、性別解讀的回顧..................................51
二、女孩與單身......................................57
第四章達達機器 67
一、 391雜誌封面與其他機械作品…………………………… 67
二、符號系統的破壞與更新:蘇黎世達達與畢卡畢亞……… 77
結論 89
達達的尾聲……………………………………………………… 89
概念回顧: 現代、現代主義與前衛…………………………… 89
紐約達達與機械概念的發展…………………………………… 93
機械作品相關圖版………… ………………………………… 96
參考書目…………………………………………………………112
附錄一、亞格妮斯．梅衍，《心理反應》(Mental Reaction)視覺詩全文................................................117

參考文獻

Apollinaire, Guillaume, Peter Read trans., The Cubist Painter (Berkeley, California: University of California Press, 2004)
Beech, Dave and Mark Hutchinson, “Francis Picabia : Another Failure to Interpret the Work,” in Art Has No History!: the Making and Unmaking of Modern Art, ed. by John Roberts (New York : Verso, 1994), pp. 37-62
Bohn, Willard, The Aesthetics of Visual Poetry, 1914-1928 (New York : Cambridge University Press, 1986)
Bohn, Willard, Apollinaire and the international avant-garde (Albany : State University of New York Press, c1997)
Borràs, Maria-Lluïsa, Picabia (New York, 1985)
Boulbès Carole, Picabia: Le Saint Masqué (Paris: Jean-Michel Place, 1998)
Buskirk, Martha and Mignon Nixon ed., The Duchamp effect (Cambridge : MIT Press, c1996)
Bürger, Peter, Theory of the Avant-Garde (Minneapolis University of Minnesota Press, c1984)
Camfield, William, Francis Picabia (1879-1953): A Study of Career from 1895-1918 (Yale University, Ph. D., 1964)
Camfield, William, Francis Picabia his art, life, and times (N.J. : Princeton University Press, c1979)
Carrouges, Michel, Les Machines Célibataire (Paris : Chêne, 1976)
Dachy, Marc, Dada: The Revolt of Art (New York: Abrams, c2006)
De Duve, Thierry, Kant after Duchamp (Cambridge, Mass MIT Press, 1996)
Dickerman, Leah and Matthew S. Witkovsky ed., The Dada Seminars, (Washington: National Gallery of Art with D. A. P., 2005)
Dickerman, Leah, Dada : Zurich, Berlin, Hannover, Cologne, New York, Paris, (Washington D.C.: National Gallery of Art in association with D.A.P., c2005)
Dickran, Tashijian, Skyscraper Primitives: Dada and the American Avant-Garde, 1910-1925 (Wesleyan University Press, 1975)
Foster, Stephen ed., Crisis and the arts: the history of Dada Vol.: Dada, the coordinates of cultural politics (New York: G.. K. Hall, 2001)
Foster, Stephen ed., Dada/Dimensions (Ann Arbor : UMI Research Press, c1985)
Foster, Stephen ed., Dada Spectrum: The Dialectics of Revolt (University of Iowa Press,1979)
Gale, Matthew, Dada & surrealism (London : Phaidon Press, 1997)
Henderson, Linda Dalrymple, Duchamp in context : science and technology in the Large glass and related works (New Jersey : Princeton University Press, 1998)
Pagé, Suzanne, Francis Picabia : singulier idéal : Musee d'art moderne de la ville de Paris, 16 novembre 2002-16 mars 2003 (Paris : Paris-musees, c2002)
Gammel, Irene, Baroness Elsa: gender, dada, and everyday modernity : a cultural biography (Mass. : MIT Press, c2002)
Gaughan, Martin Ignatius ed., Crisis and the arts vol.Ⅲ: The History of Dada, Dada New York: New World for Old (New York: G.. K. Hall, 2001)
Greenough, Sarah, Modern Art in America: Alfred Stieglitz and His New York Galleries (Washington D.C. : National Gallery of Art)
Henderson, Linda Dalrymple, The Fourth Dimension and Non Euclidean Geometry in Modern Art (New Jersey : Princeton University Press, 1983)
Homer, William Innes, Alfred Stieglitz and the American avant-garde (Boston : New York Graphic Society, c1977)
Hopps, Walter, Ulfe Linde, and Arturo Schwarz, Marcel Duchamp Ready Made, Etc. 1913-1964 (Milan and Paris, 1964)
Jones, Amelia, Irrational Modernism: A Neurasthenic History of New York Dada (Mass. : MIT Press, c2004)
Jones, Amelia, Postmodernism and the En-gendering of Marcel Duchamp (Cambridge, 1994)
Joselit, David, Infinite Regress : Marcel Duchamp, 1910-1941 (Cambridge, 1998)
Jones, Caroline, “The Sex of the Machine: Mechanomorphic Art, New Women, and Francis Picabia’s Neurasthenic Cure,” Picturing Science, Producing Art (New York : Routledge, 1998)
Kuenzli, Rudolf E., and Francis Naumann ed., Marcel Duchamp : Artist of the Century (Cambridge, 1989)
Le Bot, Marc, Francis Picabia et la crise des valeurs figuratives, 1900-1925 (Paris: Klincksieck, 1968)
Masheck, Joseph ed., Marcel Duchamp in perspective (Cambridge : Da Capo Press, c2002)
Motherwell, Robert, The Dada Painters and Poets: an anthology (Mass. : Harvard University Pr., 1981)
Naumann, Francis, New York Dada, 1915-23 (New York : Abrams, 1994)
Naumann, Francis, Making Mischief: Dada invades New York (New York : Whitney Museum of American Art, 1996)
Pierre, Arnauld, Francis Picabia: la Peinture sans Aura (Gallimard, 2002)
Ramirez, Juan Antonio, Alexander R. Tulloch trans., Duchamp : love and death, even (London : Reaktion Books, 1998)
Richter, Hans, Dada, art and anti-art (New York : Harry N. Abrams, 1965)
Ring, Nancy, New York Dada and the Crisis of Masculinity: Man Ray, Francis Picabia, and Marcel Duchamp in the United States, 1913-1921 (Ph.D. Northwestern University, 1991)
Samaltanos-Stenström, Katia , Apollinaire, catalyst for primitivism, Picabia, and Duchamp (Michigan: UMI Research Press, c1984)
Sawelson-Gorse, Naomi ed., Women in Dada: essays on sex, gender, and identity (Mass : MIT Press, c1998)
Spate, Virginia, Orphism: The evolution of non-figurative painting in Paris 1910-1914 (Oxford : Clarendon Press : New York : Oxford University Press, 1979)
Tomkins, Calvin, Duchamp: A Biography (London : Pimlico, 1998)
Stieglitz, Alfred, 291, No. 1(Mar. 1915) – No. 12 (Feb. 1916) (New York : Arno Press, c1972)
Stieglitz, Alfred, Camera Work, No. 1(Jan. 1903) - No. 49/50 (June 1917). (Liechtenstein : Kraus, c1969)
《達達: 一部反叛的歷史》(Dada: Histoire d’une Subversion) 亨利．貝阿爾(Henri Behar)與米歇爾．卡拉蘇((Michel Carassou)著，陳聖生譯。 (桂林市: 廣西師範大學, 2003)

指導教授

曾少千(Shao-Chien Tseng)

審核日期

2007-7-23

推文