博碩士論文 941206005 詳細資訊




以作者查詢圖書館館藏 以作者查詢臺灣博碩士 以作者查詢全國書目 勘誤回報 、線上人數:4 、訪客IP:3.233.217.242
姓名 蔡雨辰(Yu-chen Tsai)  查詢紙本館藏   畢業系所 藝術學研究所
論文名稱 黑外套與白襯衫:羅曼‧布魯克絲的陽剛女性肖像研究
(Black Coat and White Shirt: Masculinity in Female Portraits by Romaine Brooks)
相關論文
★ 延伸的邊界:傑洛姆(Jean-Léon Gérôme)1847-1867年間歷史畫研究★ 怪誕的存有,優雅的死亡- 湯姆斯.羅蘭森的《英國死亡之舞》
★ 流動的現代性符號— 法蘭西.畢卡畢亞1913-1920年的機械作品★ 美國之道──Stephen Shore的公路攝影
★ 頹廢與現代之美:比爾茲來的女性形象研究★ 從哲學化到體制化:早期觀念藝術的終結、離散或轉型
★ 藝術武器─喬治‧葛洛茲的政治諷刺圖像★ 紀實與抒情:黛安.阿勃絲《無題》系列中的社會邊緣人形象
★ 米萊恩.夏皮洛之「女像」(Femmage):裝飾的愉悅和政治性★ 庫爾貝裸女畫與大眾色情/情色文化的辨證
★ 日常的反身與政治—安內‧梅莎潔1970年代藝術實踐★ 方言的發散:街頭、展覽、消費場域的臺灣塗鴉次文化
★ 當代的叛亂,傳統的燔犧:森村泰昌的跨界主體★ 全視之眼:Andreas Gursky的攝影美學與社會意涵
★ 想/ 像的雙面繆思:蘇菲.卡勒的《真實故事》★ 光照之域:Philip-Lorca diCorcia的編導攝影研究
檔案 [Endnote RIS 格式]    [Bibtex 格式]    [相關文章]   [文章引用]   [完整記錄]   [館藏目錄]   [檢視]  [下載]
  1. 本電子論文使用權限為同意立即開放。
  2. 已達開放權限電子全文僅授權使用者為學術研究之目的,進行個人非營利性質之檢索、閱讀、列印。
  3. 請遵守中華民國著作權法之相關規定,切勿任意重製、散佈、改作、轉貼、播送,以免觸法。

摘要(中) 羅曼.布魯克絲為活躍於十九、二十世紀之交的女性藝術家,她的創作以肖像為主,本論文即聚焦在羅曼於1923、1924年間所創作的《自畫像》、《彼得,一位英國年輕女孩》、《烏娜,喬布里奇夫人》。這些作品分別描繪了羅曼、英國畫家葛路克和烏娜,她們身穿白襯衫、黑外套,透露出程度不一的陽剛氣質。多數研究指出易裝、女同志認同、女同志圖像、跨性別等關鍵詞彙與概念以解釋這些作品。然而,這些研究經常還未審慎釐清在1920年代的性別越界是什麼,及其與女同志認同的關係,便跳過這些層次,直接以「女同志」的理論框架解讀她們的服裝,這種解讀方式忽略了歷史特定性,和羅曼在創作這些肖像時的各種變因,以及肖像畫類自身的脈絡。
  因此,女性陽剛特質應是描述這三張肖像時更準確的語彙,因為這個概念本身的多元面貌,打開了這些肖像的詮釋可能。在女性陽剛特質的光譜上,羅曼、烏娜、葛路克帶著她們自身與社會的關係,各占據了一個重要的位置。羅曼的陽剛回應了她在男性主導的藝術圈中,如何被視為嚴肅與正統的問題;烏娜的陽剛反映了1920年代的時尚特色;葛路克的陽剛則在光譜的邊界,從跨性別的觀點來看,她終身僅穿男裝的行為符合易裝的定義,但在大眾的接收上,她的陽剛形象是一種專業的象徵。
  論文的第一章將從傳記出發,詳介羅曼的生平與創作。並分析她的早期創作,從中選取裸體和陽台這兩個主題,看出羅曼在裸體再現,以及空間與性別的關係上,展現什麼樣的傳統或另類之聲。第二章則正式進入研究主題,首先回到1920年代的英國與法國,嘗試重建彼時的女性時尚,將主角們放回當時的社會情境,還原這些看似相同的「男裝」及配件的複雜歷史與其中的差異。再則回顧十九世紀末的丹第(dandy)肖像,整理現有的圖像資料,建立羅曼描繪的服飾風格與當時男性藝術家之類似作品間的關係,檢視羅曼可能依循的再現傳統,以及這個傳統所蘊藏的豐富涵義。第三章從兩方面詮釋這批作品,一是性卅別理論的應用,指出過去研究者因為去歷史地使用女同志、認同、可見性等概念分析羅曼的作品,而造成的闕漏,進而轉向女性陽剛特質,打開其他詮釋的豐富面貌。二是回到藝術史中,肖像、自畫像的脈絡。回顧二十世紀初的藝術環境,從教育體制、展覽空間及藝術評論著手,察看女性藝術家的機會與限制,並分析羅曼的自畫像所呈現的專業性。最後更將肖像材料拓展至肖像攝影,察看葛路克如何透過肖像攝影傳達她們專業的形象。
摘要(英) Romaine Brooks (1874-1970) is a vigorous female artist at the turn-of-the-century who specialized in portraiture. This thesis is to focus on her three works in 1923-24: "Self-portrait (1923)," "Peter, A Young English Girl (1923-24)" and "Una, Lady Troubridge (1924)." These works respectively portray Brooks, English painter Gluck and Una, who dress themselves with white shirts and black coats, revealing masculinity by heterogeneous extents. Most researches interpret these works through cross-dressing, lesbian identity, lesbian image, female masculinity, transgender. However, most of the researches omit to clarify what "gender transgression" meant in the 1920s and its relation with lesbian identity. Several layers are, as a result, neglected. Using "lesbian" as the theoretical framework to interpret their costume ignores historical particularity, variables when Brooks created these portraits, and contextualization of portraiture.
Thus, "female masculinity" better describes these three works, for the variety of the concept uncovers possibilities in interpretation. On the spectrum of female masculinity, Brooks, Gluck and Una separately play crucial roles together with their relation with the society. Brooks’’s masculinity corresponds to the fact that how Brooks was regarded as a serious and orthodox artist; Una’’s masculinity reflects the fashion features in 1920s; as for Gluck, her masculinity is at the edge of the spectrum. From the aspect of transgender, Gluck, wearing only male costume all her life, well correspond to the definition of cross-dressing nowadays, but at that time in public reception, her masculinity turns out to be a symbol of professional.
Based on the biography of Romaine Brooks, the first chapter gives a detailed introduction to her lifeand works. Through analyzing Brooks’’s early works and singling out two elements-nudity and balcony, I examine her efforts in continuing tradition and making innovation about the nude, space, and gender. The second chapter attempts to rebuild the contemporary fashion history for women in the context of England and France in the 1920s and to place all protagonists back to their historical positions, which accordingly reveal the complex history of the seemingly ordinary clothing and accessories. I also trace back dandy portraits in the end of the 19th century to point to the relation between the styles both in Brooks’s works and in works of male artists of the time, to examine the tradition of representation, and to discuss the richness of this tradition. In the third chapter, two methodologies are provided: one is the application of sexuality theory, which indicates the flaws in previous researches which ahistorically and exclusively employ concepts such as lesbian, identity, visibility in analyzing Brooks’s works. This chapter turns to female masculinity as a new perspective to various interpretations. The other method is looking at the portraiture and self-portraiture in the context of art history. Educational system, exhibiting space, and art commentary disclose female artists’ opportunities and limitations in the context of the early 20th century. This thesis analyzes the professionalism in Brooks’s portraits and, furthermore, extends the scope to portrait photography so as to take a closer look on how Gluck “portraits” their professional images through photography.
關鍵字(中) ★ 羅曼‧布魯克絲
★ 女性陽剛特質
★ 肖像
關鍵字(英) ★ Romaine Brooks
★ female masculinity
★ portraiture
論文目次 中文提要…………………………………………………………………i
英文摘要……………………………………………………………….ii
誌謝……………………………………………………………………iii
目錄………………………………………………………………………v
緒論………………………………………………………………………1
研究動機…………………………………………………………………1
文獻回顧與問題意識……………………………………………………2
章節架構…………………………………………………………………9
名詞解釋……………………………………………………………….10
第一章 灰色的靈魂者…………………………………………….12
第一節 羅曼‧布魯克絲的生平與作品風格…………………….12
第二節 與傳統對話……………………………………………….21
小結…………………………………………………………………….27
第二章 如何陽剛,怎樣時尚?──陽剛女性肖像的服裝與風格…28
第一節 模特兒的生平…………………………………………….28
第二節 像個男孩-1920年代的陽剛時尚……………………….32
第三節 「我身上的丹第」-羅曼與丹………………………….38
小結…………………………………………………………………….43
第三章 從理論到歷史:兩種詮釋路徑………………………….44
第一節 女同志與女性陽剛特質………………………………….44
第二節 專業的藝術家…………………………………………….54
小結…………………………………………………………………….59
結論…………………………………………………………………….60
參考書目……………………………………………………………….65
論文圖版……………………………………………………………….69
參考文獻 英文參考書目
Barney, Natalie Clifford, Adventures of the Mind. New York: New York University Press, 1992.
Baudelaire, Charles, and Jonathan Mayne, The Painter of Modern Life and Other Essays. Arts & letters. London: Phaidon Press, 1995.
Breeskin, Adelyn Dohme and Romaine Brooks, Romaine Brooks, Washington, D.C.: Distributed for the National Museum of American Art, Smithsonian Institution, by the Smithsonian Institution Press, 1986.
Chadwick, Whitney, Romaine Brooks, and Joe Lucchesi, Amazons in the Drawing Room: The Art of Romaine Brooks, Chesterfield, Mass: Chameleon Books, 2000.
Chadwick, Whitney and Tirza True Latimer, The Modern Woman Revisited: Paris between the Wars. New Brunswick, N.J.: Rutgers University Press, 2003.
Chastain, Catherine McNickle, “Romaine Brooks: A New Look at Her Drawings,” Woman’s Art Journal, Vol.17, No.2, Autumn, 1996-Winter, 1997.
Clark, T. J. Clark, “Preliminaries to a Possible Treatment of Olympia in 1865,” Screen, vol. 21, No. I, Spring 1980.
Curry, David Park, James McNeill Whistler: Uneasy Pieces. Richmond: Virginia Museum of Fine Arts, 2004.
Dijkstra, Bram, Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture. New York: Oxford University Press, 1986.
Deepwell, Katy, Women Artists and Modernism. Manchester: Manchester University Press, 1998.
Doan, Laura L. Fashioning Sapphism: The Origins of a Modern English Lesbian Culture. New York: Columbia University Press, 2001.
Doan, Laura L, and Jane Garrity. Sapphic Modernities: Sexuality, Women, and National Culture. New York: Palgrave Macmillan, 2006.
Duberman, Martin B., Martha Vicinus, and George Chauncey, Hidden from History: Reclaiming the Gay and Lesbian Past. New York: New American Library, 1989.
Elliott, Bridget and Jo-Ann Wallace, Women Artists and Writers: Modernist, (Im)Positionings. London: Routledge, 1994.
Faderman, Lillian, Surpassing the Love of Men: Romantic Friendship and Love between Women from the Renaissance to the Present. New York: Morrow, 1981.
Feldman, Jessica R. Gender on the Divide: The Dandy in Modernist Literature. Ithaca: Cornell University Press, 1993.
Felski, Rita, The Gender of Modernity. Cambridge, Mass: Harvard University Press, 1995.
Fillin-Yeh, Susan, Dandies: Fashion and Finesse in Art and Culture. New York: New York University Press, 2001.
Foucault, Michel, The History of Sexuality: uolume I: An Introduction. New York: Vintage Books, 1980.
Frueh, Joanna, Cassandra L. Langer and Arlene Raven, New Feminist Criticism: Art, Identity, Action, New York, NY: IconEditions, 1994.
Gubar, Susan, “Blessings in Disguise: Cross-Dressing as Re-Dressing for Female Modernists,” Massachusetts Review 22, No.3, 1981, p.477-508.
Gornick, Vivian and Barbara Moran, Women in Sexist Society: Studies in Power and Powerlessness. New York, N.Y.: New American Library, 1972.
Halberstam, Judith, Female Masculinity. Durham: Duke University Press, 1998.
Hollander, Anne. Sex and Suits. New York: Knopf, 1994.
Holmes, Diana and Carrie Tarr, A Belle Epoque?: Wome in French Society and Culture, 1890-1914. Oxford: Berghahn, 2006.
Latimer, Tirza True, Women Together/Women Apart: Portraits of Lesbian Paris. New Brunswick, N.J.: Rutgers University Press, 2005.
Langer, Sandra, “Fashion, Character and Sexual Politics in some Romaine Brooks Lesbian Portraits,” Art Criticism Vol.1, No.3, 1981, p.25-40.
Meskimmon, Marsha, The Art of Reflection: Women Artists' Self-portraiture in the Twentieth Century. New York: Columbia University Press, 1996.
Moers, Ellen, The Dandy: Brummell to Beerbohm. Lincoln: University of Nebraska Press, 1978.
Nelson, Robert S. and Richard Shiff, Critical Terms for Art History. Chicago: University of Chicago Press, 1996.
Nead, Lynda, The Female Nude: Art, Obscenity, and Sexuality. London: Routledge, 1992.
Oram, Alison, and Annmarie Turnbull, The Lesbian History Sourcebook: Love and Sex between Women in Britain from 1780 to 1970. London: Routledge, 2001.
Ormrod, Richard, Una Troubridge, the Friend of Radclyffe Hall. London: Cape, 1984.
Parker, Rozsika and Griselda Pollock, Old Mistresses: Women, Art, and Ideology, New York: Pantheon Books, 1981.
Perry, Gill, Women Artists and the Parisian Avant-Garde:Modernism and ‘Feminine’ Art, 1900 to the Late 1920s. Manchester [England]: Manchester University Press, 1995.
Plummer, Kenneth, Modern Homosexualities: Fragments of Lesbian and Gay Experience. London: Routledge, 1992.
Rapazzini, Francesco, “Elisabeth de Gramont, Natalie Barney’s ‘eternal mate’” South Central Review. 3, Volume 22, Fall 2005, p.6-31.
Roberts, Mary Louise, “Samson and Delilah: The Politics of Women’s Fashion in 1920s France” The American Historical Review, Vol. 98, No. 3 Jun. 1993, p.657-659.
Rodriguez, Suzanne, Wild Heart: A Life : Natalie Clifford Barney and the Decadence of Literary Paris. New York: Ecco, 2003.
Souhami, Diana, Wild Girls: Paris, Sappho, and Art: the Lives and Loves of Natalie Barney and Romaine Brooks, New York: St. Martin's Press, 2005.
Souhami, Diana, and Gluck. Gluck, 1895-1978: Her Biography. London: Pandora, 1988.
Secrest, Meryle, Between Me and Life: A Biography of Romaine Brooks, Garden City, N.Y.: Doubleday, 1974.
Taylor, Melanie, “Peter (A young English Girl): visualizing transgender masculinities,” Camera Obscura, 56, Volume 19, Number2, 2004.
Walker, Lisa, Looking Like What You Are: Sexual Style, Race, and Lesbian Identity. New York: New York University Press, 2001.
Wilson, Elizabeth, The Sphinx in the City: Urban Life, the Control of Disorder, and Women. Berkeley: University of California Press, 1992.
West, Shearer, Portraiture, Oxford: Oxford University Press, 2004.
中文參考書目
張小虹,《慾望新地圖》,台北市:聯合文學,1996。
何春蕤(編),《從酷兒空間到教育空間》,台北:麥田,2000。
何春蕤(編),《跨性別》,桃園縣中壢市:中央大學性卅別研究室,2003。
Benjamin, Walter,張旭東、魏文生譯,《發達資本主義時代的抒情詩人:論波特 萊爾》,台北市: 臉譜出版:城邦發行,2002。
Berger, John,吳莉君譯,《觀看的方式》,台北市,麥田,2005。
Hall, Radclyffe,《寂寞之井》,嚴韻譯。台北:女書文化,2000年
Hollander, Anne,楊慧中、林芳瑜譯,《時裝.性.男女》,台北:聯經出版,1997。
Pollock, Griselda,陳香君譯,《視線與差異:陰性氣質、女性主義與藝術歷史》,台北市:遠流出版,2000。
Williams, Raymond,劉建基譯,《關鍵詞:文化與社會的詞彙》,台北市,巨流,2003。
Young, Iris Marion,何定照譯,《像女孩那樣丟球:論女性身體經驗》,台北市:商周出版,2006。
指導教授 曾少千(Shiao-chien Tseng) 審核日期 2009-7-21
推文 facebook   plurk   twitter   funp   google   live   udn   HD   myshare   reddit   netvibes   friend   youpush   delicious   baidu   
網路書籤 Google bookmarks   del.icio.us   hemidemi   myshare   

若有論文相關問題,請聯絡國立中央大學圖書館推廣服務組 TEL:(03)422-7151轉57407,或E-mail聯絡  - 隱私權政策聲明