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研究生:高葆容
研究生(外文):KAO, PAO-JUNG
論文名稱:旁觀者-高葆容創作論述
論文名稱(外文):Bystander—The Discourse of Kao, Pao-Jung’s artworks
指導教授:黃小燕黃小燕引用關係
指導教授(外文):HUANG, HSIAO-YEN
口試委員:周政緯陳彥伶
口試委員(外文):CHOU, CHENG-WEICHEN, YEN-LING
口試日期:2022-03-29
學位類別:碩士
校院名稱:國立臺灣藝術大學
系所名稱:美術學系
學門:藝術學門
學類:美術學類
論文種類:學術論文
論文出版年:2022
畢業學年度:110
語文別:中文
論文頁數:105
中文關鍵詞:集體心理服從權威從眾效應
外文關鍵詞:collective psycheobedience to authoritybandwagon effect
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本篇論文將研究筆者在2018年後的繪畫作品,對其創作脈絡進行分析與統整。筆者多數作品與「從眾行為」、「權威服從」、「盲從」、「信仰」有關,以一種克制以及深沉的角度描繪盲從所引發的災難;這場災難不用流血,亦不轟轟烈烈,卻是隨著那死氣沉沉的隊伍,輾壓於世上的各個角落。
「旁觀者」,是一同時具正面與負面意義之詞彙。筆者希望將自己抽身體制外,從遠處觀看……,綜觀歷史,似乎有人群的地方就有災難;從以國族主義為名的種族屠殺,到當今社會常發生的網路霸凌案件,集體心理無所不在。個人意識起初微不足道,但當號召的號角響起,集體能做的往往超乎我們預期。盲目地跟隨總是伴隨著代價,筆者以旁觀者的姿態,審視這一切,並適時地做出批判。在團體之中,筆者不想成為屈服者,亦不想成為統治者,筆者想成為一名旁觀者。
筆者於第一章討論研究動機及方法,於第二章研究心理學與社會心理學,試圖歸納「集體」的產生方式與各種類例子,並闡述人類服從、崇拜權威的過程。第三章則提出幾件對筆者有參考價值之作品。接著,筆者於第四章深入剖析創作理念及內容,鉅細靡遺地重演筆者的創作過程,並對材料、構圖、用色進行分析。第五章則是結論,總結全文,並講述筆者對於自己及世界的期許。
本篇論文將分析筆者如何用不同的方式表達人的集體性與權威服從,且寓意良善的帶著藝術家之社會責任深入剖析、揭露發生在日常生活的人類集體行為。筆者試圖以一旁觀者的視角將各種人類集體活動當成「概念」去處理,並通過轉譯將概念呈現,中國殭屍、似剪影的人群、提線布偶……,筆者不斷替換繪畫主體去解釋同一個概念,不斷嘗試以不同語言訴說同一個名詞,望能以更全面的視角審視人間。



This research article is to study paintings created by the author after 2018; a systematic analysis and review on these paintings is conducted. Most of these paintings render themes of “conformity,” “obedience to authority,” “irrational belief,” and “religion.” In these paintings, a disaster brought about by collective actions were depicted from a constrained and profound perspective. The calamity didn’t involve causality or destruction; yet, it is rampant the world as a troupe of mindless souls moves about in each and every known place.
“Bystander,” what the author calls herself, is a term that has both positive and negative meanings. The author wishes to stay on the sideline and watch how the game goes. It seems that throughout history, where there were crowds, there were calamities; collectivism has been playing a role in events from a genocide in the name of nationalism to the online bully cases that keeps occurring in today’s society. An individual’s will may seem ineffective, but when one could call the crowd to action, collectivism could be a much stronger power than we could ever imagine. When the crowd follows someone blindly, there must be certain consequences. The author watches the whole scenario from the perspective of a disinterested character and make judgements. The author means to neither succumb to nor dominate the conditions; she just wants to remain on the sideline.
Chapter one is to discuss the motivation and method of the research. In chapter two, an analysis on the origin and various examples of collectivism are rendered from the perspectives of research psychology and social psychology. This part also elaborates on the process of how people end up succumbing to and following authoritarian powers. Chapter three mentions some works that served as models for the author. Then, the author’s creations are interpreted in chapter 4. It focuses on the hidden meanings behind the author’s creations. The process of creation was described in detail, the materials, composition, and colors of the paintings were also analyzed. Chapter five concludes the whole research paper. The author also expresses the anticipations she has for herself and the world.
This research article is an analysis on how the author renders collectivism in her art works. With a good intention to fulfill his social responsibility as an artist, the author reveals and profiles the herd behaviors of human beings in daily life. Playing the role of a bystander, the author probed into the “concept” of human beings’ collective activity. The concept is interpreted and manifested as the images of Chinese zombies, silhouettes of crowds, and puppets. While the author uses different subjects in her paintings and applying different symbols to illustrate the same concept, the author hopes to present a holistic picture of the earthly world.



謝誌-----------------------------------------------------------------------------I
摘要---------------------------------------------------------------------------III
Abstract------------------------------------------------------------------------IV
目錄----------------------------------------------------------------------------VI
第一章、緒論-----------------------------------------------------------------------1
第一節、研究動機與目的--------------------------------------------------------------3
第二節、研究內容-------------------------------------------------------------------4
(一)、創作內容-------------------------------------------------------------------4
(二)、理論研究-------------------------------------------------------------------7
第三節、研究方法-------------------------------------------------------------------8
第二章、學理基礎與文獻探討----------------------------------------------------------10
第一節、何謂集體------------------------------------------------------------------10
第二節、逃避自由------------------------------------------------------------------14
第三節、平庸之惡------------------------------------------------------------------19
第三章、藝術作品中的集體意象--------------------------------------------------------24
第一節、米謝爾・羅芙納(Michal Rovner,1957-)的符號化人影---------------------------24
第二節、中世紀歐洲繪畫中的複製臉-----------------------------------------------------31
第四章、創作內容------------------------------------------------------------------44
第一節、作為旁觀者---------------------------------------------------------------44
第二節、媒材運用與肌理呈現----------------------------------------------------------58
(一)、前置作業與工具-------------------------------------------------------------58
(二)、肌膚的厚度----------------------------------------------------------------63
(三)、異材質黏貼於畫布------------------------------------------------------------66
第三節、畫面結構------------------------------------------------------------------67
(一)、以中心向外擴散-------------------------------------------------------------67
(二)、複數、重複-----------------------------------------------------------------68
(三)、豐饒之地------------------------------------------------------------------70
第四節、軀體----------------------------------------------------------------------73
(一)、人形剪影------------------------------------------------------------------73
(二)、非人、擬物-----------------------------------------------------------------75
第五章、 結論---------------------------------------------------------------------79
參考書目-------------------------------------------------------------------------85
附錄----------------------------------------------------------------------------87

莊仲黎(譯)(2019)。榮格論自我與無意識。台北:商周出版。(Carl G. Jung,1928)
韓翔中(譯)(2020)。榮格論心理學及宗教。台北:商周出版。(Carl G. Jung,1940)
劉麗(譯)(2009)。普通語言學教程。北京:中國社會科學出版社。(Ferdinand de Saussure,1916)
劉宗為(譯)(2015)。逃避自由。新北:木馬文化出版。(Erich Fromm,1941)
渠敬東(譯)(2017)。社會分工論。北京:生活‧讀書‧新知三聯書店。(Émile Durkheim,1893)
徐紀亮、張慶熊(譯)(1988)。馬克思關於人的概念。臺北:南方叢書出版社。(Erich Fromm,1961)
施奕如(譯)(2013)。平凡的邪惡:艾希曼耶路撒冷大審紀實。台北:玉山社出版。(Hannah Arendt,1963)
黃煜文(譯)(2015)。服從權威:有多少罪惡,假借服從之名而行?台北:經濟新潮社。(Stanley Milgram,1974)
蔡佩君(譯)(2016)。責任與判斷。新北:左岸文化。(Hannah Arendt,2003)
陳式(譯)(2004)。希特勒:我的奮鬥。台南:文國書局(Adolf Hitler,1925)
林盛、杨宁、李韵譯(2021)。歐洲中世紀史。上海社会科学院出版社(Judith M. Bennett,1964)

網路資料:
中文:
郭象(2019年12月24日)。共產暴政錄(一)—紅色高棉大屠殺(上)。獨立媒體 inmediahk.net。取自https://www.inmediahk.net/node/1069511。
張雅涵(2021年3月17日)。盧安達大屠殺性侵下後代 揹「屠夫之子」污名的成長掙扎。中央廣播電台。取自https://www.rti.org.tw/news/view/id/2093619。
杨文琪、金盛华、何苏日那、张潇雪、范谦(2015)。非人化研究:理论比较及其应用。心理科学进展,23(7),1267-1279。取自https://www.researchgate.net/publication/304096732_feirenhuayanjiulilunbijiaojiqiyingyong_Dehumanization_Theoretical_Comparison_and_Application
林永喜(2000年12月)洞穴寓言Allegory of the Cave。國家教育研究院雙語詞彙、學術名詞暨辭書資訊網。取自https://terms.naer.edu.tw/detail/1307556/。
英文:
Alixe Bovey(2015, Apr. 30) Women in medieval society. British Library. Retrieved from https://www.bl.uk/the-middle-ages/articles/women-in-medieval-society
Camille Hong Xin(2012, Dec. 5).Time Is Not Linear: Q+A With Michal Rovner.Art In America. Retrieved from https://www.artnews.com/art-in-america/interviews
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Hadas Maor(2019, February – May). Michal Rovner Dislocation. HADAS MAOR contemporary art curator. Retrieved fromhttps://hadasmaor.com/michal-rovner
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Naama Riba(2021, June. 13).The Most Successful Artist to Come Out of Israel Lives Alone in a Tiny 48-square-meter. House Haaretz. Retrieved from https://www.haaretz
.com/life/.premium.MAGAZINE-israel-s-most-successful-artist-i-don-t-like-it-how-do-you-measure-that-1.9884712

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