| 摘要: | 本論文旨在探討法國攝影家歐仁．阿特傑（Eugène Atget）在不同語境中被重新定位的過程，聚焦於1920至1980年代的四個關鍵脈絡：
第一，考察1920年代歐洲超現實主義與前衛藝術網絡中阿特傑攝影的傳播。阿特傑的攝影在雜誌刊物中被挪用與重新編輯，使其攝影脫離原始的文件用途。第二，探討1930年代德國猶太裔思想家華特．班雅明（Walter Benjamin）對阿特傑攝影指向政治意涵的書寫，並對照多明尼克．夏鐸（Dominique Château）的理論，延展班雅明筆下阿特傑攝影「靈光」（aura）的多重解讀。第三，爬梳1930至1950年代美國紀實攝影家貝若尼絲．阿博特（Berenice Abbott）如何在美國推廣阿特傑，促成紐約現代藝術館（Museum of Modern Art, MoMA）1968年的收購。第四，論文重點分析MoMA的制度化策略：策展人波蒙．紐霍爾（Beaumont Newhall）對攝影史的編撰，以及約翰．薩科斯奇（John Szarkowski）以形式美學將阿特傑確立為現代攝影典範的過程。最後，1980年代由研究員瑪利亞．莫利絲．漢柏格（Maria Morris Hambourg）以藝術史書寫範式，完成阿特傑生平傳記及作品結構的研究。
本論文參考藝術史學家沃夫岡．坎普（Wolfgang Kemp）的藝術作品接受理論，指引接受史材料的主要方向；此外，為補足坎普對藝術作品的歸納並未提及攝影，筆者進一步借用美學理論家夏鐸對藝術作品的分類，其中攝影的媒材特殊性，在於其本身亦作為一種中介媒介，使得攝影作品的傳播與接受條件，已不同於繪畫。
本研究認為，阿特傑攝影的接受歷史，不僅攸關藝術史建構下攝影家名聲的轉折與確立，亦反映了攝影在二十世紀如何透過編輯出版、跨文化傳播、機構展示與美學詮釋，完成從「歷史文件」到「現代藝術」的定位轉向，更展現了攝影作為複製性媒材於傳播和接受中衍生的複雜意義。;This thesis aims to explore the process of repositioning the photographs of French photographer Eugène Atget across various contexts, focusing on four key developments from the 1920s to the 1980s.
First, this thesis examines the dissemination of Atget’s photography within the European Surrealist and avant-garde networks of the 1920s. His photographs were appropriated and reedited in magazines, which detached them from their original function as historical documents. Second, it discusses German-Jewish thinker Walter Benjamin’s writings in the 1930s regarding the political implications of Atget’s imagery; by comparing this with the theories of Dominique Château, this study extends the multifaceted interpretations of “aura” in Benjamin’s analysis of Atget. Subsequently, it traces how American documentary photographer Berenice Abbott promoted Atget in the United States from the 1930s to the 1950s, eventually leading to the acquisition of her Atget collection by the Museum of Modern Art (MoMA) in 1968. The thesis further analyzes MoMA’s institutionalization strategies, notably through Beaumont Newhall’s construction of photographic history and John Szarkowski’s canonization of Atget as a modernist paradigm through formal aesthetic appreciation. Finally, it addresses how researcher Maria Morris Hambourg utilized art-historical paradigms in the 1980s to systematize the study of Atget’s biography and the structural organization of his oeuvre.
Methodologically, this thesis references art historian Wolfgang Kemp’s reception theory to guide the primary direction of the archival materials. Furthermore, to address the absence of photography in Kemp’s framework, the author incorporates Dominique Château’s classification of artistic media. The specificity of photography as an intermediary medium creates conditions for dissemination and reception that differ from those of traditional painting.
This study argues that the reception history of Atget’s photography concerns not only the transformation and the establishment of a photographer′s reputation within the construction of art history, but also reflects how photography transitioned from “historical document” to “modern art” through editorial publishing, intercultural dissemination, institutional display, and aesthetic interpretation during the twentieth century. Ultimately, it reveals the complex meanings derived from photography as a reproducible medium throughout its process of dissemination. |
