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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/46415

    Title: 方言的發散:街頭、展覽、消費場域的臺灣塗鴉次文化;The Divergence of Vernacular: Taiwan Graffiti Subculture among the Street, Exhibition and Consuming Fields
    Authors: 許明霖;Ming-lin Hsu
    Contributors: 藝術學研究所
    Keywords: 消費;展覽;街頭;塗鴉;抵抗;文化治理;青年;文化分殊;文化工業;網路;電影;攝影;次文化;Culture Industry;Internet;Cinema;Photography;Subculture;Youth;Cultural Distinction;The Governance of Culture mechanism;Resistances;Exhibition;Consuming;Graffiti;Street
    Date: 2011-01-22
    Issue Date: 2011-06-04 15:20:08 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 街頭壁面、展覽圖錄、報紙新聞、雜誌、電影、網路部落格等視覺素材為基礎,塗鴉根植於我們的日常生活,經由檢視街頭、展覽、消費場域的區分,本研究聚焦於臺灣塗鴉次文化的發展,從塗鴉人、塗鴉藝術家與塗鴉社群的差異著手,拉出街頭、展覽流通機制與消費文化三個面向上,闡明臺灣地區塗鴉相較於紐約塗鴉所具有的方言性格。第一章第一節以《塗鴉人:轟炸臺灣》一書中出現的街頭塗鴉為例,進行塗鴉分類風格的討論,旁及華山塗鴉事件中有關塗鴉分類的評論,剖析街頭塗鴉的特異之處。第二節則從次文化的抵抗觀點出發,對比不同團體的塗鴉社群評價彼此之間的言論,探究抵抗如何構成受到藝術世界矚目的街頭力量。第二章第一節則討論文化治理下的臺灣塗鴉,回顧例年來公私部門各文化機構有關於塗鴉的展覽、活動、文化節慶,在文化機制中的定位。第二章第二節則進一步帶入文化分殊中高與低、核心與邊陲的概念,討論第一章論及的街頭塗鴉與本章所討論的塗鴉藝術的歧異,從塗鴉人與塗鴉藝術家的身份認同著手,意圖闡明塗鴉與藝術史的連結。第三章第一節將以消費空間中的塗鴉為例,討論前述的街頭風格在消費文化中的演變,闡明它們與消費體系中機制、創作者與觀者的交流關係。第三章第二節則說明新聞媒體如何再現塗鴉社群與塗鴉商品之間的對演關係,第三章第三節則以攝影、電影、網路中的塗鴉為例,探討塗鴉媒體傳播。 Based on the street wall, catalogue, newspaper, magazine, movie, internet blog…etc, Taiwan graffiti subculture roots in the visual materials arrayed all over our daily life. This thesis aims to focus on the development of graffiti subcultures in Taiwan by examining the distinctions varied from street, exhibition and consuming fields. The concepts of graffiti writers, graffiti artists and graffiti sub groups drag the three facets of street, exhibition and consuming culture to explain the vernacular character of Taiwan graffiti compared to New York graffiti. In chapter one section one; TOOYA! Taiwan Graffiti will be served as an example to discuss the represented graffiti styles, and relate with the social criticism in Hua San graffiti event. In chapter one section two; starting from the points view of resistances, the comparison between different groups of graffiti communities explores how the resistances form the street power renowned in the art world. In chapter two section two; the graffiti related exhibitions, activities and cultural festivals are reviewed to put Taiwan graffiti subculture within the governance of culture mechanism. In chapter two section two; the paired concepts of cultural distinctions such as high and low, center and border help to discuss the variation between street graffiti in chapter one and graffiti art here. Starting from the status identities of graffiti writer and graffiti artist, clarifies how graffiti connect with art history. In chapter three section one; the message project would be the case to concern the relationship of consuming system, author and viewer. In chapter three section two; how the media news represents the inter-relation between graffiti communities and its commodity. In chapter three section three; graffiti shown in the photos, movies and the internet blogs will be examples to concern the visual communication within cultural and consuming system.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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