| 摘要(中) |
「和平」是小野洋子作品內最重要的追尋。大眾似乎從未嚴肅的看待這 位藝術家及其作品,反倒是專著於她的私生活上。其實小野洋子的作品非常耐 人尋味,因為這位藝術家在作品內注入了一個能夠穿透人類肉體限制的概念— weltinnenraum,也就是「世界內部空間」。一直到今日,年歲已近八十的小野 洋子,還是不放棄繼續藉由她的作品,向世界傳達「和平」這項概念。這份論 文探討的便是小野洋子文本作品grapefruit,<葡萄柚> 裡的「世界內部空間」概念。在小野的文本裡,「世界內部空間」能夠藉由外 部摧毀性的力量,來穿越想像的藩籬。用她獨特的敘事方式,小野洋子指示讀 者們加入她那轉化個人浪漫妄想成為真實現象的團體。
這份論文旨在揭露小野洋子作品中「世界內部空間」所隱藏的和平概念 。論文包括了序,第一章,第二章,以及結尾。第一章「個人與主體的玩味」 將會專著於分析「世界內部空間」這份概念:包括分析緣起的里爾克作品與小 野洋子所衍伸,對於此概念不同的解讀。接著將會分析 <葡萄柚> 文本內 「卡片篇」裡主體在這個想像平台「世界內部空間」概念裡的轉變。第二章「 切割的和平」將會把討論加入幻奇文學的元素,「世界內部空間」這個幻奇空 間,將會藉由小野洋子的文本和羅絲瑪莉傑克森的幻奇文學空間概念來解讀。 幻奇文學裡和小野作品裡的摧毀性也將會透過「切割的和平」一詞來解釋其不 同層面的表象,如:外部的摧毀力量,想像空間對於現實空間的摧毀性,以及 想像空間內部的摧毀性。小野洋子在文本內隱藏的訊息,將會藉由此論文的討 論,如洋蔥般一層一層揭開。
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| 摘要(英) |
Peace is the main pursuit of Yoko Ono’s work. Instead of taking the artist’s work seriously, the public often focuses on her personal life. Ono’s artworks are worth exploring since they transcend the boundaries of human forms and bring viewers into a conceptual realm called weltinnenraum. Even today, almost in her 80s, the artist still works hard in sending her message of peace to the world. This thesis discusses the idea of weltinnenraum in Yoko Ono’s distinguishing work grapefruit. In Ono’s context, part of the essence of weltinnenraum could stay away from being imaginary as long as outside destructive force initiates it. Using her unique narration, Ono instructs readers to join her community of initiating one’s fiction into reality.
To reveal the message of peace in Ono’s weltinnenraum is the motivation of my thesis. This thesis is divided into two chapters, with an introduction and a conclusion. In Chapter One “The Playfulness of the Individual and the Subject in Weltinnenraum,” I will focus on the differentiation between the original Rilkian and Onoian weltinnenraum. Then, using Card Piece from grapefruit as an example, I interpret the transformation the subject experiences within this imaginary realm. Chapter two “Cut Peace” focuses on the destructive force in both Ono’s work and fantastic literature. The destructiveness of the weltinnenraum as a fantastic interval is discussed through Ono’s pieces and Rosemary Jackson’s theory of the fantastic interval. Multiple layers of the destructiveness will also be discussed by using different aspects of the term “cut peace”: the destructiveness of outside force, the destructiveness of the conceptual realm and concrete realm, and the destructiveness within the conceptual realm. Ono’s messages in the artwork will be interpreted in the discussion.
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| 參考文獻 |
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