臺灣博碩士論文加值系統

本論文旨在研究我2020年至2024年期間的創作，作品的發展過程從對於自然的關注逐漸轉向聚焦於「動物」。我蒐集許多動物形象的物件與影像，試圖描繪其輪廓範疇，並透過創作打造出一個觀看動物形象的情境，由此重新思考我們如何認識動物、想像動物並創造動物。
論述架構分為五章節，自緒論開始闡述個人與自然世界接觸的經驗，覺察自己對於動物的迷戀除了源於生物性的本能，同時來自於社會結構下的文化產物——「想像動物」。援引約翰．伯格〈為何凝視動物？〉一文中對動物邊緣化的剖析，動物形象逐漸與「真實」有所區別，它被想像、被構築，並成為獨立的對象物。第一章從動物園的發明切入，回溯人類如何在現代化的進程中構建出展示動物的場所，在這種收攏自然、群集動物的觀看情境中，我們又看到了什麼？第二章從人類收藏動物的慾望出發，自十六世紀歐洲發展出珍奇櫃的收藏系統後，此慾望不減反增，到了當代珍奇櫃中的動物形象卻變得越加「可愛」與多樣，對「可愛」的認知各異其趣，其背後所運作的機制從童年時期便深刻影響著人類對動物的認識。第三章則透過一種缺席的符號隱喻「真實動物」的消失與死亡，呈現日常生活中難以再經驗牠們的狀態。取而代之的「想像動物」卻快速流竄，最後，透過各種載體呈現自身、生產自身，逐步取代了真實。

This thesis aims to examine my artistic works from 2020 to 2024. The development of these works gradually shifted from a focus on nature to a focus on "animals." I collected various objects and pictures of animal imagery, attempting to delineate their contours and, through my creations, construct a context for viewing these representations. This process allows for a rethinking of how we perceive, imagine, and create animals.
The thesis is structured into five chapters. It begins with an introduction that discusses my personal experiences of interacting with the natural world, noting that my fascination with animals stems not only from biological instincts but also from cultural constructs under societal frameworks—the "imagined animals." Referencing John Berger's essay "Why Look at Animals?" which analyzes the marginalization of animals, the representation of animals gradually becomes distinct from the "real." They are imagined, constructed, and become independent objects. Chapter One starts with the invention of the zoo, tracing how humans have created spaces for displaying animals within the process of modernization. In these contexts of gathering nature and clustering animals, what do we actually see? Chapter Two explores the human desire to collect animals, which began with the development of cabinets of curiosities in sixteenth-century Europe. This desire has only grown, and in contemporary cabinets of curiosities, the representation of animals has become increasingly "cute" and diverse. The perception of "cuteness" varies, and the mechanisms behind it deeply influence how humans understand animals from childhood. Chapter Three uses a metaphor of absence to signify the disappearance and death of "real animals," highlighting their diminishing presence in daily life. In their place, "imagined animals" proliferate rapidly, eventually presenting themselves through various media, reproducing themselves, and gradually replacing the real.

摘要 I
Abstract II
目錄 III
圖目錄 IV
緒論 1
一、研究動機 4
二、研究內容 7
三、研究方法與文獻回顧 13
第一章、充滿矛盾的現代化自然宮殿 23
第一節、動物園與自然史博物館 24
第二節、透過水族箱看見什麼 33
第二章、珍奇櫃中看似可愛的動物 40
第一節、瑪莉珍奇屋 44
第二節、保持可愛？ 50
第三章、死亡的動物未曾消逝 59
第一節、想像動物之死 62
第二節、缺席 74
第三節、動物的真實與想像 83
結論 90
參考資料 93

中文譯本：
Berger, John. 著，劉惠媛譯。《影像的閱讀》（About Looking）。臺北：麥田，2017/1980。
Borges, Jorge Luis. 著，葉淑吟譯，《想像的動物》（El Libro de los Seres Imaginarios）。臺北：麥田出版，2021/1995。
Bekoff, Marc. 著，錢永祥、彭淮棟、陳真譯 。《動物權與動物福利小百科》（Encyclopedia of Animal Rights and Animal Welfare）。臺北：桂冠，2002/1998。
Calarco, Matthew. 著，龐紅蕊譯。《動物志：從海德格爾到德里達的動物問題》 （Zoographies: The Question of the Animal from. Heidegger to Derrida）。武漢：長江文藝出版社，2022/2008。
Lewis, Simon L. Maslin, Mark A. 著，魏嘉儀譯，《人類世的誕生》（The Human Planet: How We Created the Anthropocene）。臺北：積木文化，2019/2018。
Mitchell, W.J.T. 著，陳永國譯。《圖像學：形象、文本、意識形態》（Iconology: Image, Text, Ideology）。北京：北京大學出版社，2020/1986。
Mitchell, W.J.T. 著，蘭麗英譯，《圖像理論》（Picture Theory）。重慶：重慶大學出版社，2021/1994。
Mitchell, W.J.T. 著，陳永國、高焓譯。《圖像何求？形象的生命與愛》（What Do Pictures Want？The Lives and Loves of Images）。北京：北京大學出版社，2018/2005。
Mitchell, W.J.T. 著，石武耕譯，《形象科學》（Image Science: Iconology, Visual Culture, and Media Aesthetics）。臺北：馬可孛羅文化，2020/2015。
Mitchell, W.J.T. 著，唐宏峰譯，《元圖像：圖像及其理論話語》（Metapictures: Images and the Discourse of Theory）。上海：上海人民出版社，2022。
Morris, Desmond. 著，何佩樺譯，《超現實藝術家的謎夢人生：他們真實人生的第一手見證》（The Lives of the Surrealists）。臺北：原點，2018/2018。
Wilson, Edward Osborne. 著，邱思華譯，《蟻丘之歌》（Anthill）。臺中：晨星，2010/2010。

中文書目：
上田莉棋，《別讓世界只剩下動物園：我在非洲野生動物保育現場》。臺北：啟動文化，2018。
國立臺灣文學館策劃，蘇碩斌監製，黃宗潔主編，余美玲等著。《成為人以外的：臺灣文學中的動物群像》。新北：聯經，2022。
黃宗慧。《以動物為鏡：12堂人與動物關係的生命思辨課》。臺北：啟動文化，2018。
廖鴻基，《南方以南：海生館駐館筆記》。臺北：聯合文學，2009。
鄭麗榕。《文明的野獸：從圓山動物園解讀近代臺灣動物文化史》。新北：遠足文化，2020。
錢永祥。《人性之鏡：動物倫理的歷史與哲學》。新北：聯經，2023。

中文期刊：
張婉真。〈生態展示的意義〉，《國立歷史博物館學報》第3期，1996。

外文書目：
Aloi, Giovanni. Art and Animals. New York: I.B. Tauris, 2012.
Berger, John. “Why Look at Animals?”, About Looking. New York: Pantheon, 1980.
Baratay, Eric. Zoo: A History of Zoological Gardens in the West. London: Reaktion Books, 2004.
Baker, Steve. Postmodern Animal. London: Reaktion Books, 2000.
Bryson, Norman. Graziose Corrin, Lisa. Kwon, Miwon. “Interview: Miwon Kwon in conversation with Mark Dion”, Mark Dion. New York: Phaidon Press, 1997.
Lorenz, Konrad. Studies in Animal and Human Behavior, vol. II. Cambridge: Harvard University Press, 1971.
Mauriès, Patrick. Cabinets of Curiosities. London: Thames & Hudson, 2011.
Phaidon Editors. Hanken, James. Aloi, Giovanni. Animal: Exploring the Zoological World. New York: Phaidon Pres, 2018.
Renhui, Robert Zhao. A Guide to the Flora and Fauna of the World. Göttingen: Steidl, 2018.
Stern, Jane. Stern, Michael. Encyclopedia of Bad Taste. New York: Harper Collins Publishers, 1990.
Schrijver, Ward. Veiteberg, Jorunn. Felieke Felieke Van Der Leest: The Zoo of Life: Jewellery & Objects, 1996-2014. Stuttgart: Arnoldsche Art Publishers, 2014.
Schrijver, Ward. Worsdale, Godfrey. Felieke van der Leest: Jewellery fables. Middlesbrough: Mima, 2006.

外文期刊：
Burt, Jonathan. “John Berger’s ‘Why Look at Animals?’: A Close Reading”, Worldviews: Global Religions, Culture, and Ecology 9, no. 2. Leiden: Brill. Jan 2005.
Mecacci, Andrea. “Aesthetics of Fake An Overview”, Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9, no. 2. Florence: Firenze University Press , Feb 2016.
“Acting Like Animal” , National Geographic World. Washington, DC: National Geographic Society. May 1999.

網際網路：
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Gali, André. “Felieke van der Leest: Toy Animals, Yarn, and Glamorous Design”, The Vessel Issue 4, November, 2022. Retrieved from: https://vessel-magazine.no/issues/4/norwegian-crafts-magazine/felieke-van-der-leest-toy-animals-yarn-and-glamorous-design (May 6, 2024).
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Art Gallery Putti, “Felieke van der Leest's lecture at The Art Academy of Latvia”, Slideshare. Retrieved from: https://www.slideshare.net/artgalleryputti/felieke-van-der-leests-lecture-at-the-art-academy-of-latvia (April 17, 2024.)
Hardingplus, “Puls Profil: Felieke van der Leest”, Facebook, October 5, 2020. Retrieved from: https://www.facebook.com/watch/?v=258281225491075 (May 9, 2024).
Yoho Media, “Felieke van der Leest”, Vimeo, September 1, 2016. Retrieved from: https://vimeo.com/181028491(March 6, 2024).
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Christina Gurunian, “The Inspiration of the Day: Damien Hirst”, Christina Gurunian, March 15, 2021. Retrieved from: https://christinagurunian.com/the-inspiration-of-the-day-damien-hirst-by-christina-gurunian/ (August 18, 2024).
王言然，“The Tank for IKEA Shark”, Wang Yen-Ran王言然 ，檢自：https://cargocollective.com/WANGYENRAN/The-Tank-for-IKEA-Shark（2024.1.4瀏覽）
“@Same Not Same Hanako Kimura Exhivision 2021.7/17~28 11:00~19:00”, Kitahama N Gallery. Retrieved from: https://ngallery.mystrikingly.com/blog/same-not-same (January 4, 2024).
Hanako Kimura, “Hanako Kimura / 木村華子 (@hanako_kimura)”, Instagram. Retrieved from: https://www.instagram.com/hanako_kimura/ (January 4, 2024).
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“Cabinet of Wonder”, Gathering Place. Retrieved from: https://www.gatheringplace.org/cabinet-of-wonder (April 24, 2024).
Genosko, Gary. “Natures and Cultures of Cuteness”, Invisible Culture (9): Nature Loving, 2005. Retrieved from: https://www.rochester.edu/in_visible_culture/Issue_9/issue9_genosko.pdf (May 1, 2024).
Woods, John Muir (McAllister, Jackie). Bowe, Marisa. “Mark Dion”, Deadword. Retrieved from: https://deadword.com/site1/place/guyana/artists/markbio.htm (May 1, 2024).
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Edwards, Bree. “Interview with Mark Dion, by Bree Edwards”, In Situ Paris. Retrieved from: https://www.insituparis.fr/en/artistes/texte/1591/mark-dion (May 1, 2024).
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鍾國強，哲思下的眾生——漫談辛波絲卡的動物詩（2023.07.27），檢自：
https://www.openbook.org.tw/article/p-67793（2024.1.4瀏覽）。
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繪本：
Joans, Ann. 文／圖，漢聲雜誌譯。《上學途中》（The Trek）。臺北：漢聲，1998/1985。