| 摘要(英) |
Being a photographer that was famous for exploring the marginalizing society , Diane Arbus（1923-1971）took mentally retarded people from several institutions in New Jersey as the subject , and it became the “Untitled” series collected in books by her daughter in 1995.This group of mental disorders broke the ordinary model of communication that Diane Arbus used with those previous photography objects. Therefore, this thesis focus on this series of works, to detect and discussion when Arbus’ style has been mature day after day but obtained the deep going thought and acme display of creation idea by the transformed expression because of the particular theme.
The human society often takes stigma as the divide of normal and abnormal, labels those whose behaviors do not conform to the society and pushes them toward the marginalization. Therefore, this thesis brings up annotations for the series of "Untitled" from the theory about stigma of American sociologist, Erving Goffman, and the critics to total institution from the anti-psychiatry movement in 60’s.These theories critiqued absolute division of normal and abnormal, perhaps devalue the social marginalizing people, but stressed that we should take the respect manner to the social marginalizing people.On the other hand, this thesis explains the images by the concept of liminoid of Victor Turner, describes in these photographs to stress in individual thought that each kind of cognition as well as the significance are at chaotic, break condition, but attempt to have certain new cultures in certain marginalizing, unformed situations. This thesis uses this idea to explain that there is one kind of appearance that is different with the main stream culture, actually multi-dimensional and unique in the series of “Untitled”.
Furthermore, this thesis continues the duality which appears frequently in Arbus’ works, and takes the documental and lyrical in the series of “Untitled” as the discussion center. In documental aspect, Arbus has continued the European artists’ interest to the image of freaks, and unified the concept of American documental style after the 60’s and formed the new documental image contains individual thought within the objective documental. In lyrical aspect, this series of works became the nostalgia of freaks to Arbus. Arbus discovered much strange juxtaposition on these social marginalizing people that formed the grotesque image. Therefore, what this lyrical expresses is freaks’ comfortableness, in this fantastic magic power like fairy tales, it is the metaphor of this crowd of society social marginalizing people forming lives that disregards the social judgment, released, and rich in the fantasy strength .
Therefore, this thesis thought that the series of “Untitled” had reflected the American society resisted the authority in 60’s, to see the marginalization, to take multiple ideological trends. And reduced the intervention from the photographer to the photographs and subject , but presents the reality, comfortable social marginalizing people’s appearance. In the mad image of art history, the series of “Untitled” of Arbus became one kind of image of a new state asylum that development distinctive quality of society marginalizing people, respect to the existence of difference.
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| 參考文獻 |
一、英文書目
Adams, Rachel. Sideshow U.S.A.: Freaks and the American Cultural Imagination, Chicago: University of Chicago Press, 2001.
Arbus, Doon. Laing, and Yolanda Cuomo eds.. Untitled, Millerton, New York: Aperture, 1995.
Arbus, Diane. Diane Arbus: Revelations, New York: Random House, 2003.
Arbus, Doon. and Marvin Israel eds.. Diane Arbus: An Aperture Monograph, Millerton, New York: Aperture, 1972.
Arbus, Doon. and Marvin Israel eds.. Diane Arbus: Magazine Work, 1960–1971, Millerton, New York: Aperture, 1984.
Avedon, Richard. Nothing Personal, New York: Atheneum Publishers, 1964.
Bosworth, Patricia. Diane Arbus: A Biography, New York: Norton, 1984.
Bolton, Richard. The Contest of Meaning: Critical Histories of Photography, Cambridge, Mass.: MIT Press, c1989.
Clarke, Graham. The Portrait in Photography, London: Reaktion Books Ltd, 1992.
Davis, Lennard J.. The Disability Studies Reader, New York: Routledge, 2006.
Diamond, Hugh W.. “On the Application of Photography to the Physignomic and Mental Phenomena of Insanity” in The Face of Madness and the Origin of Psychiatric Photography, New Jersey: The Citadel Press, 1976, pp. 17-24.
Didi-Huberman, Georges. Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière(1982), trans. Alisa Hartz, Cambridge, MA and London: The MIT Press, 2003.
Gilman, Sander L.. Disease and Representation: Images of Illness from Madness to AIDS, Ithaca: Cornell University Press, 1988.
Gilman, Sander L.. Seeing the Insane, Lincoln: University of Nebraska Press, 1996.
Goffman, Erving. Asylums, New York: Random House, 1961.
Goffman, Erving. Stigma:Notes on the Management of Spoiled Identity, Simon & Schuster, 1963.
Guimond, James. American Photography and the American Dream, Chapel Hill: University of North Carolina Press, 1991.
Kozloff, Max. The Theatre of the Face: Portrait Photography Since 1900, London: Phaidon, 2007.
Laing, R. D.. The Divided Self, New York: Penguin Books, 1959/ 1990.
Lee, Anthony W.. and John Pultz eds., Family Albums, New Haven and London: Yale University Press, 2003.
Marien, Mary Warner. Photography: A Cultural History, London: Laurence King Publishing, 2006.
Sander, August. August Sander: People of the 20th century, New York: Harry N. Abrams, c2002.
Szasz, Thomas. The Myth of Mental Illness, New York, London: Harper & Row, 1974.
Showalter, Elaine. The Female Malady: Women, Madness and English Culture, London: Virago, 1987.
Sobieszek, Robert A.. Ghost in the shell: photography and the human soul, 1850-2000: essays on camera portraiture, Cambridge, Mass: MIT Press, c1999.
Tellgren, Anna. Portraits: Arbus, Model, Strömholm, London: Thames & Hudson, 2005.
Wells, Liz. The Photography Reader, New York: Routledge, 2003.
Wells, Liz. Photography : a Critical Introduction, London: New York, Routledge, 2004.
二、中文書目
Arthur Rothstein著，李文吉譯，《紀實攝影》，台北市：遠流，2004。
Clifford Geertz著，楊德睿譯，《地方知識》，台北市：麥田，2005。
Conard Phillip Kottak著，徐雨村譯，《文化人類學－多樣性的探索》，台北市：巨流，2005。
Erving Goffman著，徐江敏、李姚軍譯，《日常生活的自我表演》（The Presentation of Self in Everyday Life），台北市：桂冠，1992。
Michel Foucault著，林志明譯，《瘋狂與非理性：古典時代瘋狂史》（Folie et déraison: Histoire de la folie à l’âge classique），台北市：桂冠，1996。
Michel Foucault著，劉北成、楊遠嬰譯，《規訓與懲罰》，台北市：桂冠，1992。
Susan Sontag著，黃翰荻譯，《論攝影》，台北市：唐山，1997。
Vilém Flusser著，李文吉譯，《攝影的哲學思考》，台北市：遠流，1994。
王志弘著，《流動、空間與社會：1991-1997論文選》，台北：田園城市，1998。
簡瑛瑛編，《女性心/靈之旅：女族傷痕與邊界書寫》，台北：女書文化，2003。
黃應貴編，《見證與詮釋》，台北市：正中，1998。
三、期刊論文
Adams, Rachel. “Bringing out the Dead: Inside the Arbus Archive,” American Quarterly 57: 1(March 2005), pp. 207-21.
Alexander, M. Darsie. “Diane Arbus: A Theatre of Ambiguity,” History of Photography, 19: 2 (Summer 1995), pp. 120-3.
Armstrong, Carol. “Biology, Destiny, Photography: Difference According to Diane Arbus,” October 66 (Autumn 1993), pp. 29-54.
Budick, Ariella. Subject to Scrutiny: Diane Arbus’s American Grotesque (Ph.D. Diss., New York University, 1996).
Coleman, A. D.. “Why I’m Saying No To This New Arbus Book,” New York Observer, 9: 37 (2 October 1995), p. 25.
Goldin, Amy. “Diane Arbus: Playing with Conventions,” Art in America (March/ April 1973), p. 73.
Goldman, Judith. “Diane Arbus: The Gap between Intention and Effect,” Art Journal (Fall 1974), pp. 30-5.
Gross, Frederick. Fairy Tales for Grown-Ups: Diane Arbus’s Social Panorama (Ph.D. Diss. New York: The City University, 2005).
Hulick, Diane Emery. “Diane Arbus’s Expressive Methods,” History of Photography, 19:2 (Summer, 1995), pp. 107-16.
Jeffrey, Ian. “Diane Arbus and the Past When She was Good” History of Photography, 19: 2 (Summer 1995), pp. 95-9.
Kramer, Hilton. “Diane Arbus: From Fashion to Freaks,” The New York Times Magazine (5 November 1972), p. 38.
Kozloff, Max. “The Uncanny Portrait: Sander, Arbus, Samaras,” Artforum 11(June 1973), pp. 58-66.
Magid, Marion. “Diane Arbus in ‘New Documents,’” Arts Magazine (April 1967), p.54.
Mary Kathryn Shields. Masking in Photography and the Art of Diane Arbus and Ralph Eugene Meatyard, (Ph.D. Diss. Virginia Tech, 2001).
McPherson, Heather. “Diane Arbus’s Grotesque ‘Human Comedy’,” History of Photography, 19: 2 (Summer 1995), pp. 117-20.
Rice, Shelley. “Essential Difference: A Comparison of the Portraits of Lisette Model and Diane Arbus,” Artforum 18: 9 (May 1980), pp. 69-70.
Warburton, Nigel. “Diane Arbus and Erving Goffman: The Presentation of Self,” History of Photography, 16 (Winter 1992), pp. 401-4.
劉瑞琪，〈荻安．阿勃斯的驚異萬聖節：唐式症女人的返魅與融聚〉，《國立台灣大學美術史研究集刊》，第26期，2009年3月。（排印中）
游本寬，〈拍照紀錄的藝術〉，《現代美術》，第101期，2004年4月，第18-27頁。
四、網路資料
http://www.ntnu.edu.tw/fna/arthistory/articals_sct_1.htm
林志明，〈紀錄風格與紀錄攝影〉，瀏覽時間：2007/10/11。
http://disable.yam.org.tw/resource/life/down/presch/ch01.htm
身心障礙者服務資訊網，瀏覽時間：2008/12/ 7。
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