跳到主要內容

臺灣博碩士論文加值系統

(54.225.48.56) 您好!臺灣時間:2022/01/19 22:20
字體大小: 字級放大   字級縮小   預設字形  
回查詢結果 :::

詳目顯示

我願授權國圖
: 
twitterline
研究生:陳佳琦
研究生(外文):Chia-Chi Chen
論文名稱:羅賽蒂的〈新生〉畫作研究
論文名稱(外文):Rossetti's Vita Nuova
指導教授:李明明李明明引用關係
指導教授(外文):Ming-Ming Li
學位類別:碩士
校院名稱:國立中央大學
系所名稱:藝術學研究所
學門:藝術學門
學類:綜合藝術學類
論文種類:學術論文
論文出版年:2002
畢業學年度:90
語文別:中文
論文頁數:114
中文關鍵詞:羅賽蒂但丁新生
外文關鍵詞:RossettiDanteVita Nuova
相關次數:
  • 被引用被引用:2
  • 點閱點閱:749
  • 評分評分:
  • 下載下載:0
  • 收藏至我的研究室書目清單書目收藏:2

提 要

但丁《新生》完成於1292-1294年間,被後人視為但丁首部重要的著作,同時也是義大利早期相當重要的散文文學作品之一。然而,相較於但丁另一部廣泛流傳的巨作--《神曲》,十九世紀前卻甚少有人對《新生》作深入的研究,更遑論曾有相關的插畫作品產生。1848年羅賽蒂完成的《新生》翻譯,被認為是《新生》首部完整出版的英譯本。 之後羅賽蒂並計畫展開一系列文本的插畫創作,雖然這樣的計畫並沒有真正被畫家所實踐,自1848∼1879年間,羅賽蒂仍陸續創作了十六幅以《新生》為題材的畫作,這是繼中世紀以來首批《新生》圖像的出現。透過這些作品,除了重新向世人展現《新生》的價值與意義,畫家本身也為文本的再詮釋作出了貢獻。
本論文企圖要探討的是:羅賽蒂以何種方式從事《新生》題材的創作?而這樣的創作又向觀者呈現出什麼樣的意義?這些的問號,將藉由三個章節不同層次的闡述去尋求答案。
第一章將從畫家的相關背景出發,分別由家庭因素、但丁圖像脈絡與畫家身處的維多利亞時代,探討羅賽蒂選擇但丁題材創作的關連。第二章正式進入《新生》文本內容與羅賽蒂《新生》畫作的介紹,以畫作本身的技巧構組看羅賽蒂對此一題材的處理態度。第三章則進入畫家《新生》創作深層意含的探討,而分別由幾個角度著手進行。《新生》畫作雖以但丁的故事出發,卻以英文翻譯作為創作的起點,於但丁文本之外反映了羅賽蒂雙重文化認同的矛盾。 再者,在畫面主要情節之外,於畫作繁複的背景與繁衍的細節中,畫家也悄悄地延伸了個人的詮釋與想像,而增加了畫作解讀的複雜性。此外,由於《新生》特有的自傳體例,也由於羅賽蒂與但丁同名、自詡為但丁的特殊情感,當《新生》畫題與畫家的經歷間有了巧妙的呼應,或許畫家已將個人的經歷移情至畫面之中。
因此,透過畫家的手,觀眾看到的不再只是純粹但丁的《新生》,也可說是羅賽蒂的《新生》,其中混雜了畫家自身的體驗,亦滲入了個人的詮釋想像,使得觀者在觀看畫作的同時,也於無意間參與了畫家內心私密的世界。


Abstract

Among the most important prose writings in early Italy, Dante’s Vita Nuova (1292-1294) is regarded as his first primary work. Nevertheless, compared with another popular work of the author, The Divine Comedy, there are much less researches on Vita Nuova until 19th Century, not to mention the illustrations. And the English edition of Vita Nuova, contributed by Gabriel Rossetti in 1848, is generally viewed as the first complete translation. Actually Rossetti was going to compose a series of illustrations to the text afterwards, which were never practiced however. Yet between 1848-1879, Rossetti had produced sixteen singular paintings based on Vita Nuova, and those works had been the first iconographs of the text since Middle Age. Those paintings not only revealed the value and significance of Vita Nuova to the public, but showed the reinterpretation of the text by the painter himself.

The main issues of this thesis are as following: In which way did Rossetti represent the subject of Vita Nuova? And what meanings had these works brought forth to their audience? The answers to these question marks are described through three chapters on different levels.

Chapter One starts with the background of the artist, including factors such as Rossetti’s family, the iconographical history of Dante, and the contemporary Victorian society, in order to trace the sources of Rossetti’s choice of the Dante-subject. Introducing both Dante’s text and Rossetti’s paintings of Vita Nuova, Chapter Two analyses Rossetti’s management about this subject according to the pictorial techniques and compositions. And Chapter Three explores the deep meanings of these Vita-Nuova paintings from various aspects. Based on Dante’s original story, the paintings begin with the English translation, thus reflect the ambiguity of Rossetti’s twofold-cultural identity. Besides the main plot of the picture, the painter stretches his own explanation and imagination of the text among the complicated background details within each picture, so that the difficulty of interpretation is increased. Moreover, because of the autobiographical genre of Vita Nuova, together with the specific emotion of the namesake of Dante and Rossetti, the artist has, perhaps, empathized his own experience into the pictures as long as the subject coincides.

Therefore under the paintbrush of the artist, the audience sees not only the Vita Nuova of Dante but also that of Rossetti, which mixed up with personal experience, interpretation and imagination. While appreciating the artwork, the audience participates, unconsciously, in the private world of the artist at the same time.


*目錄*
提要
Abstract
致謝辭

序論………………………………………………………………………………….1
一、研究緣起與內文引介…………………………………………………..1
二、研究方法與文獻評述…………………………………………………..3

第一章 羅賽蒂的《新生》畫作創作之相關背景…………………………..6

第一節 義大利淵源與家庭的影響…………………………………….……....6
第二節 中世紀以降的但丁圖像與《神曲》畫作…………………………....10
一、但丁與但丁圖像……………………………………………………………..10
二、《神曲》與中世紀以來的《神曲》畫作……………………………………13
三、羅賽蒂的《神曲》畫作………………………………………………………17
四、小結…………………………………………………………………………..18
第三節 維多利亞時期的但丁迷思與中古懷想……………………………....20

第二章 但丁《新生》文本與羅賽蒂的《新生》畫作…………………......26

第一節 但丁《新生》文本簡介……………………………………………....26
第二節 由文本翻譯到繪畫創作……………………………………………....29
一、文本翻譯與初步的插畫設計………………………………………………..29
二、作品分析……………………………………………………………………..31
1.〈週年紀念日〉…………………………………………………………......31
2.〈碧翠絲的寒暄〉與〈但丁之愛〉…………………………………………..34
3.〈婚宴圖〉…………………………………………………………………....40
4.〈但丁之夢〉………………………………………………………………....41
5.〈窗邊女子〉………………………………………………………………....45
6.其他三幅想像之作………………………………………………………......46
三、小結…………………………………………………………………………..48
*表一 羅賽蒂《新生》主題作品年表………………………………………….50
第三節 畫作技巧分析…………………………………………………………..51
一、人物構圖配置………………………………………………………………..51
二、象徵物與色彩運用…………………………………………………………..54
三、文字與畫作的結合…………………………………………………………..56

第三章 羅賽蒂的《新生》創作意含分析………………………………......58

第一節 雙重文化認同………………………………………………………....58
*表二 羅賽蒂文學題材畫作一覽表…………………………………………….64
第二節 文本敘述與聯想並置………………………………………………....68
第三節 《新生》與畫家個人愛情經歷………………………………………..75

結論 由但丁的《新生》到羅賽蒂的《新生》…………………………......81

羅賽蒂生平大事記………………………………………………………………..83

專有名詞索引…………………………………………………………………....86


圖版資料…………………………………………………………………………..99
一、文中插入作品………………………………………………………………..99
二、文後圖版…………………………………………………………………….100

參考書目………………………………………………………………………...102
一、文本………………………………………………………………………….102
二、主要參考書………………………………………………………………….102
三、次要參考書………………………………………………………………….103
四、中文書目…………………………………………………………………….104

圖版……………………………………………………………………………….105


參考書目一 、文本1.Alighieri,Dante , translated by Musa,Mark , Dante Vita Nuova , New York:Oxford University Press , 1992。2.Rossetti , Dante Gabriel , The Early Italian Poets From Ciullo D’Alcamo to Dante Alighieri(1100-1200-1300), the Alderman Annotated copy: Rossetti Archive Document ,London:J.Whittingham , Chiswick Press , 1861。二、主要參考書1.An exhibition of portraits of Dante with a selection of illustrations of “The Divine Comedy” and of Painting inspired by his poetry , The Italian Institute , June 25th-July 2nd 1965。2.Ash ,Russell , Dante Gabriel Rossetti , London:Pavilion Books Limited , 1997。3.Bass , Eben E. , Dante Gabriel Rossetti , poet and painter , New York;Bern;Paris;Lang;Frankfurt , 1990。4.edited by Bryson,John , Dante Gabriel Rossetti and Jane Morris:Their Correspondence , Oxford:Clarendon Press , 1976。5.Cherry,Deborah and Pollock,Griselda , “Woman As Sign in Pre-Raphaelite Literature: A Story of the Representation of Elizabeth Siddall” , Art History , vol.7 no.2 , 1984.6 , pp.206-227。6.Cooksey , Thomas L. , “The Central Man of the World :The Victorian Myth of Dante” , Medievalism in England , Cambridge , 1992。7.Faxon , Alicia Craig , Dante Gabriel Rossetti , Oxford:Phaidon Press , 1989。8.Gray , Nicolette , Rossetti , Dante and Ourselves , London:Faber and Faber , 1945。9.Grieve, A.I. , “The Watercolours and Drawings of 1850-1855” , The Art of Rossetti No.3 , Norwich:Real World Publication , 1978。10.Hall , James, Dictionany of Subjects and Symbols in Art , U.K.:Cambridge University Press , 1974。11.edited by Haworth-Maden ,Clare , The Pre-Raphaelites , Kent:Grange Books , 1998。12.Hewison ,Robert & Warrell , Ian & Wildman ,Stephen , Ruskin ,Turner and the Pre-Raphealites , London:The Tate Gallery , 2000。13.Johnson , Ronald W. , Dante Rossetti’s Beata Beatrix and the New Life , The Art Bulletin vol.57 n.4 ,1975.12 , pp.548-558。14.Marsh , Jan, Dante Gabriel Rossetti-Painter and Poet , London:Weidenfeld & Nicolson , 1999。15.Mcgann , Jerome, Dante Gabriel Rossetti And The Game That Must Be Lost , Yale University Press/New Havan & London , 2000。16.Panofsky ,Edwin , Meaning in the Visual Arts , The University of Chicago Press , 1955。17.edited by Parris ,Leslie, The Pre-Raphaelites , London:The Tate Gallery , 1984。18.Riede,David G. , Dante Gabriel Rossetti Revisited , Ohio State University , 1992。19.Rodgers , David , Rossetti ,London:Phaidon Press Limited , 1996。20.edited by Rossetti ,William Michael , Dante Gabriel Rossetti: His Family Letters, with a Memoir. Vol. 1. , London: Ellis and Elvey , 1895。21.Valeriani ,Enrico, Dante Gabriel Rossetti , Pescara , 1984 。三、次要參考書1.Adams,Laurie Schneider, “Iconography” ,The Methodologie of Art : An Introduction , Westview Press , 1996。2.Alighieri,Dante , translated by Sisson ,C.H. , The Divine Comedy , Oxford University Press , 1980。3.Alpers,Svetlana, The Art of Describing , The University of Chicago Press , 1983。4.edited by Angelika Muthesius,Cologne , Edward Burne-Jones─The Flower Book , Benedikt Taschen , 1999。5.Backhouse , Janet , The Illuminated Manuscript , Phaidon Press Limited , 1979。6.Baxandall,Michael , “Introduction: Language and Explanation”, Patterns of Intention:on the Historical Explanation of Pictures , Yale University , 1985。7.Bindman ,David, La Divine Comédie : William Blake , Paris:Bibliothèque de l’Image , 2000。8.Fraticelli , P. J. , La Vita Nuova di Dante Alighieri , Firenze, 1839。9.Grant ,Neil , Literature , hamley history , 1998。10.Guégan ,Stephane , Delacroix , Centre National du Livre , 1998。11.Lightbown ,Ronald, Sandro Botticelli:life and work , Abbeville Press ,1989。12.Mitchell ,W.F.T. , “Chapter One: Blake’s Composite Art” , Blake’s Comosite Art , New Jersey:Princeton University Press , 1978。13.Newall , Christopher , Victorian Watercolours , London:Phaidon Press , 1987。四、中文書目1.Alighieri ,Dante著 , Doré, Gustave繪 , 《《神曲》圖集》, 鄭州:大象出版社 , 1999。2.Alighieri , Dante著 , 王維克譯 , 《神曲的故事(地獄篇)、(淨界篇)、(天堂篇)》, 台北:志文 , 1997。3.李元春譯 , 《造型藝術的意義》, 台北:遠流 , 1997。 4.高端霞 , 《羅塞蒂繪畫中之女性形象研究》, 民86。5.蔣孔楊主編,〈拉斐爾前派的藝術主張〉,《十九世紀西方美學名著選》,上海:新華書店 , 1990。6.鍾肇政編著 ,《名著的故事》, 台北:志文 , 2000。
QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top