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姓名 李鎧伊(Kai-yi Li)  查詢紙本館藏   畢業系所 藝術學研究所
論文名稱 頹廢與現代之美:比爾茲來的女性形象研究
(Decadent and Modern Beauty: The Female Images of Beardsley)
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摘要(中) 作為一位唯一代表英國頹廢派的藝術家,比爾茲萊精巧地運用了頹廢與衰頹的概念,表現在其風格與題材上面,他熱衷於觀察繪都會生活的摩登景象,特別是穿著精緻,不流凡俗的女性們。這些女性成為比爾茲萊中晚期創作的主體。且這些仕女形象也是最能夠凸顯比爾茲萊的頹廢風格的一批作品。
女性形象向來是比爾茲萊作品裡非常突出的元素之一。本文將試圖透過女性形象與頹廢美學的連結,了解畫家作品當中所顯露的頹廢向度。比爾茲萊的作品違逆了當前的藝術規範,首先,他擺脫了「藝術作為道德教化的工具」的準則,將其主題拓展到了女性的摩登生活。頹廢的美學論述啟動了「為藝術而藝術」的理念,在藝術家與文學家的努力下,藝術不再侷限在題材與風格的選取。再者,比爾茲萊精明地利用了極為相似的概念—頹廢與衰頹,除了讓大眾注意到他的陰性特質與作品,更動搖了維多利亞時代的性別界線。第三,比爾茲萊僅用黑白兩色的設計,展現出他多變與細緻的自創風格。而他自由選取的女性形象,不僅捕捉到了女性在都會裡,從事各種活動的樣貌,而且與傳統形象相反,這些女性精神奕奕的活力與主動的態度,更突顯出女生的能動性與主體性。甚者,比爾茲萊藉由夜晚生活的遊樂場所與日間生活的消費店家,描繪諸多中產階級不願承認的罪惡與現象,也間接接露了階級混雜的現象。最後,比爾茲萊晚期的文字作品與插畫裡,其女性形象轉變成為強勢且自主的模樣,具有性慾的女性,此並未轉化成為一般人眼中的致命女性。顯然地,比爾茲萊以他的女性頌揚了性慾的存在,也提供了不同於致命女性的解讀途徑。
比爾茲萊以自由選取的題材與風格,彰顯出了在美學論述裡頹廢定義。他採取了了社會大眾對於退化衰亡的概念,表現在美學與陰性氣質裡。此外,他顛覆了維多利亞僵化的性別二元論,嘲諷了中產階級理想階級的可笑之處,更凸顯了女性因社會變動的各種面貌。比爾茲萊的獨特風格激起觀者對於其作品的賞析與關注,更捕捉到他所觀察到的,那些新興女性們在現代市區裡體驗的倏乎歡愉,樹立了了英國繪畫裡主題與技巧的新穎典範。
摘要(英) Being the only representative of British decadent artists, Beardsley ingeniously expressed his style and production with the concept of decadence and degeneration. He was intent on the observation of the modern London urban life, especially those delicately and gallantly dressed ladies. Such female images constituted the oeuvre in the artist’s latter life. Moreover, these female images are the paintings that can best represent the artist’s very own decadent style.
The female image has always been one of the most important elements in Beardsley’s production. This article attempts to pursue the connection between the female image and the decadent aesthetics, in order to fully understand the decadent dimensions which span the artist’s productions. Beardsley’s work went against the code of art in his era. First of all, he threw away the canon of “art being a tool of moral education”, extended his topics toward the new modern lifestyle of women. The decadent aesthetics stated the idea of “art for art’s sake”. With all the efforts the artists and the writers had put into, the art was no longer restricted to the selection of topics and styles. Secondly, Beardsley wisely adapted the two similar elements — degeneration pathology and decadent aesthetic. His femininity and production didn’t only catch the public’s attention but also shocked the barrier of sexes in the Victorian society. Thirdly, Beardsley’s simple monochrome design had demonstrated his varied and delicate self-invented style. The female images chosen freely by Beardsley didn’t just captured different postures of women on various activities among the city, contrary to the traditional image, the energetic spirit and enthusiasm radiated from these women had manifested the dynamic and subject of women. Moreover, by exploiting the topic of nightlife entertainments and the daytime street scene, Beardsley disclosed many phenomenons the bourgeoisie was unwilling to admit and obscurely suggested the fact of blurring barrier between classes. In Beardsley’s later novel and illustrations, the female images had transformed into strong and independent. Women with desire didn’t turn out to be the so-called femme fatale. Obviously, Beardsley’s emblazonment of female desire provided an alternative interpretation other than femme fatale.
The topics and the styles picked by Beardsley manifested the aesthetic definition of Decadent. He adopted the general public’s impression towards degeneration and revealed it with the beauty of the costume design and the femininity. He subverted the rigid concept about duality of sexes in the Victorian era, sneered at the idea of bourgeoisie, and more importantly, emphasized the various aspects of female image in the changing society. Beardsley’s distinctive style evoked wide appreciation and attention, not just toward the paintings itself, but also toward the female of such a new era. Beardsley established himself as a novel model of topics and skills in the British paintings.
關鍵字(中) ★ 維多利亞社會
★ 女性形象
★ 頹廢派
★ 比爾茲萊
★ 現代
關鍵字(英) ★ modern
★ Aubrey Beardsley
★ Victorian society
★ decadence
★ female images
論文目次 中文提要.....................................................................................................................i
英文提要....................................................................................................................ii
誌謝...........................................................................................................................iv
目錄............................................................................................................................v
導論.... ..................................................................................................................1
研究文獻回顧與探討... ................................................................................4
研究架構.......................................................................................................12
第一章 維多利亞時期的一位妖異頑逆的藝術家.................................................15
第一節 比爾茲萊生平與性情.....................................................................15
第二節 「折衷」與「有機」—比爾茲萊的風格來源與分析.. ..............24
第三節 維多利亞時代無所不在的道德觀感…………………………………37
第二章 世紀末的頹廢文化…………………………………………………………48
第一節 頹廢在英國與法國的美學定義……………………………………48
第二節 比爾茲萊的自身闡述—頹廢的縮影………………………………58
第三章 比爾茲萊筆下的現代女性…………………………………………………69
第一節 從傳統出走—維多利亞的理想典範與新女性……………………70
第二節 新興的都市消費景觀—《黃面誌》的躍進風格與女性活動……79
第三節 女性的自我建構—從梳妝打扮開始…………………………………89
第四章 性別想像—比爾茲萊晚期的圖畫與文字作品的性逾越…………………98
第一節 女人與皮鞭的強勢形象……………………………………………98
第二節 《山林深處》與《利西翠妲》中的慾女形象…………………107
結論……………………………………………………………………....…………115
圖表…………………………………………………………………………………120
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中文參考書目:
Aristophanes 著,呂建忠譯。《利西翠妲》。臺北:書林出版社,1989年。
Berger, John 著,吳莉君譯。《觀看的方式》。臺北:麥田出版, 2005年。
Gay, Peter 著,梁永安譯。《史尼茨勒的世紀;布爾喬亞經驗一百年.一個階級的傳記1815-1914》,臺北:立緒出版,2004年。
Sontag, Susan 著,
Wilde, Oscar 著,郭恩惠譯。《美少年格雷的畫像》。臺北:城邦文化,2000年。趙灃、徐京安編譯,《唯美主義》。北京:中國人民大學版社,1988年
指導教授 曾少千(Shiao-chien Tseng) 審核日期 2008-1-22
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