| DC 欄位 |
值 |
語言 |
| DC.contributor | 藝術學研究所 | zh_TW |
| DC.creator | 林采樺 | zh_TW |
| DC.creator | LIN,TSAI-HUA | en_US |
| dc.date.accessioned | 2021-1-27T07:39:07Z | |
| dc.date.available | 2021-1-27T07:39:07Z | |
| dc.date.issued | 2021 | |
| dc.identifier.uri | http://ir.lib.ncu.edu.tw:88/thesis/view_etd.asp?URN=106126003 | |
| dc.contributor.department | 藝術學研究所 | zh_TW |
| DC.description | 國立中央大學 | zh_TW |
| DC.description | National Central University | en_US |
| dc.description.abstract | 聖塞西莉亞是一位基督教的殉道者，長久以來一直被視為音樂家的守護聖人。十七世紀以後，人們更加喜愛強調聖塞西莉亞的音樂才華，因此在不同畫作中，聖塞西莉亞經常演奏各式各樣的樂器。不過，構圖中，樂器的選擇、姿勢的描繪、華服與首飾、有無小天使在場，卻可能影響到圖像原先的神聖性。更甚者，以今日之見，演奏樂器的女子肖像畫經常直接與聖塞西莉亞圖像相連結。實際上，在1775年到1841年的英國，共有11幅由當代女性扮裝為聖塞西莉亞的肖像畫。本論文探討的核心問題為聖塞西莉亞圖像在英國峰迴路轉的流行軌跡。
本研究共有五章。第一章首先爬梳聖塞西莉亞的傳說故事與十六至十七世紀歐陸的聖塞西莉亞圖像，並追溯聖塞西莉亞扮裝肖像畫的起始。第二章則從英國宮廷如何使用宗教元素的角度切入，討論十六、十七世紀的宮廷仕女在肖像畫中扮裝為聖人的文化傳統。第三章首先整理起自十七世紀末，英國的宮廷樂師、倫敦音樂家，以及女演員、女歌手的肖像畫，再討論英國聖塞西莉亞節慶的相關文化與印刷圖像。第四章關注十八世紀英國與歐陸之間的交流，並探討聖塞西莉亞圖像開始傳入英國的過程。第五章探討在十八世紀後期至十九世紀中葉的英國，結合女演員肖像畫與聖塞西莉亞扮裝肖像畫的特殊潮流。藉由分析圖像，以及探究英國十七世紀末至十九世紀初環繞聖塞西莉亞圖像的文化背景，本研究試圖釐清造就英國聖塞西莉亞圖像流行的原因，以及這些圖像的獨特性。 | zh_TW |
| dc.description.abstract | St Cecilia was a Christian martyr, who has long been regarded as the patron saint of musicians. In pictures St Cecilia was often portrayed as holding popular musical instruments, which symbolize her outstanding musical talent. From 1775 to 1841 in Britain, there were at least 11 portraits that depicted contemporary ladies posed as St Cecilia. Why did British women in the late eighteenth century want to be portrayed as St Cecilia? How did portraits of women characterized as St Cecilia obtain their popularity in Britain?
This thesis is divided into five chapters. The first chapter explores the legend of St Cecilia and her images in sixteenth- and seventeenth-century Europe, and traces the origin of female portraits posed as St Cecilia. The second chapter discusses the cultural traditions in the sixteenth and seventeenth centuries, in which court ladies liked to pose as saints in portraits. Chapter three discusses the portraits of English court musicians, London musicians, female actors and singers, and explores printed images related to the celebrations of St Cecilia’s Day in Britain. Chapter four focuses on the interaction between Britain and Europe in the eighteenth century, and examines how pictures of St Cecilia were received in Britain. The final chapter explores the special phenomenon in which British actresses and singers liked to be portrayed as St Cecilia in the late eighteenth to the mid-nineteenth century. Through analyses of the pictorial traditions of St Cecilia and explorations of British cultural conditions, this thesis endeavors to reveal reasons behind the popularity of St Cecilia images in Britain and its significance. | en_US |
| DC.subject | 聖塞西莉亞 | zh_TW |
| DC.subject | 音樂家肖像畫 | zh_TW |
| DC.subject | 女演員肖像畫 | zh_TW |
| DC.subject | 圖像傳播 | zh_TW |
| DC.subject | 大旅行 | zh_TW |
| DC.subject | St Cecilia | en_US |
| DC.subject | musicians | en_US |
| DC.subject | female actors and singers | en_US |
| DC.subject | portraits | en_US |
| DC.subject | Grand tour | en_US |
| DC.title | 以音樂之名：聖塞西莉亞圖像傳統及其在英國的接受與轉化，1518-1864 | zh_TW |
| dc.language.iso | zh-TW | zh-TW |
| DC.title | In the Name of Music: The Pictorial Tradition of St Cecilia and Its Reception and Transformation in Britain, 1518-1864 | en_US |
| DC.type | 博碩士論文 | zh_TW |
| DC.type | thesis | en_US |
| DC.publisher | National Central University | en_US |