| 摘要(英) |
In the 19th century, the idea of Realism in painting has been closely connected with the name of Gustave Courbet (1819-1877), who created the figures of vulgarity, mundanity, while againsting the aesthetics of the academic and traditional art. Courbet became a notorious artist in the 19th century, but made his own personification of arrogance and presumption at the same time. During the 1860s, Courbet produced a series of lewd and seductive nude, and the pornographic and obscene essence of these nude caused the other contemporary Realists to blame him. On the other hand, the Salon, who used to deal Courbet a blow, turned to honor him. The paintings, including Woman with White Stockings (1861), Woman with a Dog (1861-62), two Venus and Psyche (1864 & 1866), Woman with a Parrot (1866), The Sleepers (1866), and The Origin of the World (1866), were denounced as obscenity in the 19th century, and criticized by the feminists in the 20th century.
This thesis aims to focus on the public pornographic elements hiding behind the academic term “nude” in this series of paintings. The pornographic culture in the 19th century was widely presented in literature, engraving, and photography, among these mediums, the photography in the second half of the 19th century occupied the European pornographic cultural domain. The thesis concerns about how these paintings and the public culture referred to each other. The pornography is not named for the representation of the sex or the genital organs, but for the cognizance of spectators. However, the cognizance of pornography would be expanded or contracted in different epochs. Furthermore, Courbet’s nude shared similar visual language of public pornographic culture in the 19th century. The sharing visual language among these different representations would develop the sharing experiences, and at the same time, the co-text would move the boundary lines between moral/obscenity, erotica/pornography, and the public/private areas.
To sum up, base on the development of Courbet’s painting career, from the social realism to the reality of female body, and toward the realistic pornography, Courbet aroused the debates within modern art historians. Courbet was labeled in different, even contrary way, by psychoanalytical feminism and gender studies. This thesis tries to explore the sexual politics and the boundary of pornography presented by Courbet’s female. The interpretation of the series of paintings is beyond the author-function, but focusing on the history of visual materials, and to figure out the receiving motions of the spectators.
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| 參考文獻 |
參考文獻：
十九世紀文獻
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期刊文章
Chu, Petra ten-Doesschate. “Gustave Courbet’s Venus and Psyche: Uneasy Nudity in Second-Empire France,” Art Journal: Vol. 51: No. 1, Spring: 1992, pp. 38-44
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