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|Issue Date: ||2016-03-17 19:02:17 (UTC+8)|
結論為：圖文並呈的「繪寫集」是「視覺感性（visual sensitivity）」者的完整表述，「圖」與「文」不能分割。再者，繪寫作家的文學與繪畫內容大多相關，同樣反映了他們的意識形態與審美觀。最後，由於圖畫的直觀性優於文字，故繪寫集比純文字的文學書籍更加大眾化，亦可視為當代「視覺文化（visual culture）」現象之一。;Traditionally, graphics and the text are separately presented in order to show their individual advantages in reading and the research on the phenomenon of simultaneous display of both parts. The literature researchers, for example, focus on the written text in the picturesque writing, but they may ignore or underestimate the significance of graphics. Conversely, the graphics are studied by art researchers, who may not pay much attention to the text but ignore the whole picture of both graphics and the text. The main goal of this study is to investigate the picturesque writing, in which works are presented by both writings and drawings, in modern Taiwanese literature. Here, the works by four writers - Liang Danfeng ,Hsi Mujung,Lei Xiang and Xi Song, - who have the professional artistic background are discussed in order to explore the intertextuality between graphics and the text, as well as its relationship with the Zeitgeist.
Firstly, the situation of picturesque writing in the contemporary literature in Taiwan was examined. The meaning of “picturesque writing” and the scope of this study were then defined. This study was inspired by the theory “composite imagetext”. The theory “heterogeneity of poem and painting” in "Laocoon" composed by G.E.Lessnig is therefore an important basis for the commentary. Since the framework for this study is based on the historical development of Taiwanese literature, the thesis is shaped according to the developmental stages and characteristics of Taiwanese literature. It was sorted according to the order of the literary debut of the four writers: Liang Danfeng ,Hsi Mujung,Lei Xiang and Xi Song, respectively described from the second to the fifth chapter. The main theme of each chapter includes the literature and painting performance, as well as the intertextual relationship between drawing and writing of picturesque writing.
Conclusion: “Picturesque writing" characterized by simultaneous display of both graphics and the text is a type of performance, written and painted by the writers of "visual sensitivity", who would like to present the whole picture of both. It has always existed in the literature, and it should be regarded as a genre. Furthermore, the content of text written by the writers of picturesque writing is related to the graphics. It reflects their ideology and aesthetics. Finally, picturesque writing is more popular than pure literary text because of its stronger intuition residing in the graphics than the text. Hence, it can be regarded as one of the phenomena of contemporary "visual culture".
|Appears in Collections:||[中國文學研究所] 博碩士論文|
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