中文摘要 本論文探討後現代人的自我認同建構與模式。藉由越界與聯覺反應的手法，後現代人以“即將但尚未成形”﹙becoming﹚的樣貌存在於後現代社會。意即，自我認同是在溝通與消融的過程中不斷地循環再生。本論文以藝術與醫療跨界合作為例，驗證社會文化的轉型與建構如何創造、毀壞、並再塑後現代人的身體形象與自我認同。以法國身體藝術家Orlan的整形卅表演作品：The Reincarnation of St. Orlan (1990-1993)為討論核心，本論文分析此身體改造的藝術實踐對於醫療論述以及美學理論所帶來的衝擊。Orlan的肉慾藝術﹙Carnal Art﹚挑戰藝術行為挪用醫藥科學的界線，以及身體改造的極限。她更進一步質疑醫藥科學所帶來的進步，究竟是帶來改造的危機，還是進步的動能。而藝術對於美感的追求，是否該因為大環境的改變而有所應應之道，且更進一步成為反思的力量？以The Reincarnation of St. Orlan為例，外在物質條件的改變都帶有變形的可能，且於自我認同形塑的過程中造成影響。藉著「旁觀他人之痛苦，」我們得以反觀，並再次發現那「太深而看不見也察覺不到」的自己。唯有正視社會文化的變遷的影響，我們才得以在建立認同的過程中，展現自我的主體性與能動性。 本論文首先回溯我個人的醫療經驗以鋪陳The Reincarnation of St. Orlan之討論。第一章首先爬梳Orlan早期的表演藝術作品如何呈現她個人對於藝術、身體、以及認同的關懷。本章並會討論女性主義身體藝術家Carolee Schneemann的Interior Scroll (1975)之表演手法，以此開始討論The Reincarnation of St. Orlan身體展演的特殊性。第二章探討美女誕生的過程：The Reincarnation of St. Orlan 如何呈現Orlan與整形醫師在手術劇場(operating theatre)內，藝術家與醫師身份異位與互涉的過程。以越界之舉（transgressive act）為討論中心，第一部分的討論會針對Orlan身為一個藝術家卅病人的身份，論述藝術史中女體的呈現是如何因公領域的凝視（public gaze）而被標準化、單一化。第二部份則將針對參與此手術卅表演的整形醫師，本論文所謂的醫療表演者，加以探討個人卅集體身份認同之複雜性。以此作品企圖反應，醫師的角色其實反映出整個醫療環境的社會意義、醫師的集體認同，更從相對的角度（醫生→病人的關係）反應病患的就醫立場與文化社會影響。第三章則探討聯覺反應的運作機制，藉此論述Orlan的無痛之痛如何藉由誘發觀者的感官，以顛覆凝視賦予觀者的權力，並進而審視與重建凝視、觀者卅被觀、以及自我認同三者關係之交融、消解、與互動。第四章則以本論文未來的延伸研究方向做結：神學與後資本主義。由此兩個面向加以探討Orlan的藝術實踐，不只加強後現代藝術的深度與廣度，更使身體與身份認同之議題與時空場域的改變，甚至是越時空、跨場域有更深層的匯流，並且使雙方開發新的思考與突破。 Abstract In my thesis, I argue that identity making of an individual in the postmodern society is a post-human model. By actions of transgression and mechanism of association, I suggest that a post-human is a becoming in the process of social and cultural construction and transformation. Chapter one begins with my surgical experiences in order to probe into the problematic of identity making presented by Orlan’s operation/performance, The Reincarnation of St. Orlan (1990-1993). After an overview of Orlan’s early artworks, I review Carolee Schneemann’s Interior Scroll (1975) in order to present Orlan’s operating theatre of corporeal transformation and transgressiveness. Chapter two discusses the transgressiveness of Orlan’s facial transformation from two aspects: Making Beauty and Unmaking Beauty. In the first section, my main focus is Orlan’s role of an artist/patient, who enacts the relationship of woman’s body and art history under public gaze. In the second section, my main focus is the cosmetic surgeons’ role as medical performers who actuate the processes of unmaking Orlan’s body in The Reincarnation of St. Orlan. Visualizing the intertwinement between art and medicine, this chapter aims to present Orlan’s body and consciousness being the texts in The Reincarnation of St. Orlan and to problematize conventional application of cosmetic surgery as well as social/cultural standards about beauty. In chapter three, the focus is the close up of Orlan’s cut-open face in association with pain. While chapter two deals with transgression in terms of the intertwinement of identities and relationships of artist/patient and doctor/performers, chapter three deals with transgression beneath the wounds of painless pain from two aspects: Orlan’s rebellious body as “a split subject” (84) and “object” (here I mean as an art object to be gazed upon) and how viewers make senses of Orlan’s rebellious body by means of visual association. Sensitizing the viewers to pain with scenes of disavowal and contamination, the main argument in this chapter is how Orlan plays out a counter fashion of liminality: being “this-and-that.” Chapter four concludes this thesis by addressing the relevance of doing this project concerning post-capitalism and theology. With an aim to further the idea of integration in the alleged postmodern society, this thesis would like to highlight how body maneuvers and is maneuvered by impinging these two aspects.
