臺灣博碩士論文加值系統

法國藝術家、攝影家兼作家，克洛德．卡恩（Claude Cahun, 1894-1954）原名露西．書沃博，和他的繼母姊妹蘇珊娜．馬勒埃伯（Suzanne Malherbe, 1892-1972，筆名馬賽爾．摩爾）維持終生合作和伴侶的關係。卡恩留下了許多類型的創作，包括文學和戲劇，以及日益著名的現存攝影作品資料。雖然這些珍貴的遺作大多未曾在他生前公開展示，但藉由許多學者試圖研究卡恩在這些作品中所呈現的立場和關係，如今也使得這些作品重新被賦予它們的存在價值。
本文將透過卡恩的作品探討他早期所運用的女性意象和象徵主義的連結，並涉及卡恩作品中遮掩、炫示、偽裝以及充反嘲諷性的扮裝的概念。文化歷史學者通常不在乎研究對象身為作者的想法，一味將人格養成的理論直接套用在研究對象身上。然而一般而言關於性別、性向、種族、文化、政治甚或兒童期的教養等等的自我建構，會包括有意識和自我為覺察的因素。卡恩出生在父系猶太知識分子家庭，是一位女同性戀者，並致力於實踐他的極左派的政治信仰。卡恩藉由多重的身分認同來建構自己，透過終身創作不輟，來轉換這些存在他生命中的重要關係。卡恩在作品中表現出這些對人生的抗爭，致力於二十世紀上半葉重大的反抗行動。他的作品兼具了政治性與個體性，並常在作品中玩弄性別與性的概念。
他前衛的策略和圖像闡明了他不只運用了前衛的作法，還融合了例如化妝、面具和鏡子等大眾文化的意象，這些都是他應用於創作的策略，呈現了卡恩長期糾葛和僵持的藝術世界，同時也是卡恩思想和生命體驗的流露和演繹，也是他自我建構的媒介。卡恩透過自我形塑及有別於常規的表現手法，達到藝術獨特的功能

Claude Cahun (25 October 1894 – 8 December 1954) born Lucie Renee Schwob. She was a French artist, photographer, writer, surrealist and collaborator and partner of her stepsister, Suzanne Malherbe (1892-1972, also known by her pseudonym Marcel Moore). Cahun left a legacy of artistic work in a variety of media including literature and theatre, as well as her increasingly famous corpus of extant photographic image. These precious traces of Claude Cahun’s presence, most of which were never exhibited in her lifetime, have now become endowed with an existence of their own, perused by scholars attracted by how Cahun speaks to their own position and concerns.
Focusing on an early self-portrait, I want to examine Cahun’s work in relationship with Symbolist icons of femininity. I want also to relate Cahun’s photographs to concepts of masking, travesty, disguise and mimicry. Cultural historians usually have a theory of what makes a person, whether this person is the writer herself or the subject of her book. A self combines both conscious and unconscious factors influenced by class, sexuality, gender, ethnicity, culture, economics, politics, upbringing and so forth. Born into a family of Jewish intellectuals on her father’s side, a lesbian, and a supporter of far left political beliefs she sincerely tried to put into practice, Cahun constructed for herself, and inhabited, a number of diverse identities, the relative importance of which shifted in relation to one another, and the production of her photographic work, throughout her life. Cahun lived through, worked in and contributed to some of the major upheavals of the first half of the twentieth century. Her work was both political and personal, and often played with the concepts of gender and sexuality. Her avant-garde strategies and images are illuminated, I feel, by relating them not only to avant-garde practices but to mass-culture imagery of make-up, masks and mirrors, all devices which Chun used in her own work. Cahun's long-term entanglement and stalemate with the art world, seems to be all expressed these works revealing her Self-Structure on life. Through self-portrait and peculiar expression Cahun reached unique art function.

第一章 楔子----------------------------------- 3
第一節 邂逅一雙凝視的眼 ------------------------ 3
第二節 拼貼時空的切片 -------------------------- 7
第三節 假面的交會 ----------------------------- 8
第二章 不安定的靈魂 --------------------------- 12
第一節 精神病理學的種子 ----------------------- 12
第二節 性別越界時期 --------------------------- 19
第三節 超現實的自我探尋 ----------------------- 26
第四節 社會運動與反法西斯主義 ------------------ 33
第三章 對鏡梳妝---扮裝攝影作品 ----------------- 42
第一節 抗命的梅杜莎 --------------------------- 43
第二節 安能辨我是雄雌 ------------------------- 46
一、 知識的力量 ----------------------------- 46
二、 ｢少年｣的原型 --------------------------- 47
三、 對鏡貼花黃 ----------------------------- 51
四、 雌雄莫辨又何傷 ------------------------- 52
五、 我在練習中，不要吻我 -------------------- 53
第三節 金色佛陀的體現 ------------------------- 56
第四節 面具狂歡節 ----------------------------- 59
第五節 納西瑟斯與雌雄同體 ---------------------- 62
第四章 用分岔的舌頭說話---攝影蒙太奇作品 -------- 65
第一節 用相機寫散文詩 ------------------------- 65
第二節 性與恐懼 ------------------------------ 66
第三節 自戀及其不滿 --------------------------- 69
第四節 神秘的影子 ----------------------------- 71
第五節 流變的離散與回歸 ------------------------ 75
第五章 結論 ---------------------------------- 78
參考文獻 --------------------------------------- 81
圖版目錄 --------------------------------------- 85
附錄：

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許綺玲譯。羅蘭巴特著。《明室-攝影扎記》。台北:台灣攝影。1997。
鄧伯宸譯，Hanna Arendt著。《黑暗時代群像》。台北:立緒文化，2006。
劉瑞琪，《陰性顯影：女性攝影家的自拍像》，台北：遠流, 2004。
顧燕翎編，《女性主義理論與流派》。台北：女書文化，2000

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