帝國之眼:長十八世紀的英國繪畫
Imperial Eyes: British Painting in the Long Eighteenth Century
| 節 | 週四 |
|---|---|
5 13:20–14:10 | 帝國之眼:長十八世紀的英國繪畫 YX322 3 節連堂 |
6 14:20–15:10 | |
7 15:30–16:20 |
* 根據陽明交大上課時間表所列
It has been stated that painting is not only an art form but also a record of important moments in the development of a nation. This course will enable students to explore the iconic works of several eighteenth and early nineteenth centuries British painters during a period in which the country grew to imperial power. By examining the works of these painters through their imperial gaze, students will come to understand Britain’s ambition to explore the unknown and to dominate the world. But what is also revealed, undercutting this quest for power and territory, was her anxiety and loneliness in unfamiliar and distant lands overseas. This course provides students with a systematic introduction to those painters who used their brushes to document the development of the British Empire. Those painters include Sir Joshua Reynolds (1723-1792), William Hodges (1744-1797), Henry Raeburn (1756-1823), J. M. W. Turner (1775-1851), and William Alexander (1767-1816), all of whom were eyewitnesses to history (although they may also have fabricated it through their work). By analysing the works of these painters, students will be able to better understand the attitude of the British Empire in its contacts with the rest of the world. The study will also underscore the heterogeneous elements that were involved in the development of British painting during the long eighteenth century as a result of the expansion of the Empire. Most importantly, by taking this course, students will build expertise in this field and gain an understanding of an important aspect of eighteenth-century British painting. 本課程將引領學生探索英國於十八至十九世紀初葉發展至帝國規模的過程中,具有代表性的畫家與他們的畫作。藉由研析這些畫家透過其帝國之眼所完成的作品,學生將了解英國在擴張其版圖與勢力的過程中,所欲探索未知的企圖及制霸世界的野心,但同時也將揭露她在陌生與遙遠土地或海洋上的焦慮與孤寂。此外,學生也將了解繪畫不僅是一種藝術形式的表現,它同時也在國家發展過程中留下了重要時刻的紀錄。 本課程的主要目的是讓修課同學有系統地認識那些用畫筆為英帝國紀錄其發展歷程的畫家,這些畫家包含:Sir Joshua Reynolds (1723-1792), William Hodges (1744-1797), Henry Raeburn (1756-1823), J. M. W. Turner (1775-1851), 以及William Alexander (1767-1816) ,他們皆是歷史的目擊者(雖然他們也可能透過作品去杜撰甚至扭曲歷史)。透過分析這些畫家的作品,學生將更能了解英帝國在與世界各地接觸時的態度,以及因為帝國的擴張而使英國繪畫在長十八世紀的發展過程中,參雜了更多異質性的元素。最重要的是,透過修習此門課程,學生將認識長十八世紀英國繪畫的一個重要面向,並累積在此領域的專業知識。
本課程所使用之授課語言與教材皆為英語(少數中文),請同學先自行衡量語言能力之後,再決定選課與否。若有任何疑慮,請同學在選課前與授課教師聯繫討論。
Lecture, Student Presentation and Discussion
A. Weekly Oral Report: 20% The individual oral presentation to the class should be around 30 minutes. The student will be required to provide an outline to the lecturer, as well as a copy of the bibliography or reference to each student in the class at the time of the presentation. B. Attendance and Participation: 20% Please ensure that you e-mail the course instructor with a written request for leave of absence at least one day in advance of that date. C. Midterm Paper: 20% One midterm paper (4000-5000 words in Chinese or 2000-2500 words in English) to be submitted on the midterm week. The assignment will require both literary and historical critical research and reference to sources. All references (including bibliography and footnotes) should be either MLA (American) or MHRA (British) format. Single space, Times New Roman x12, A4 paper. Submission: hard copy is preferred. Plagiarism is strictly forbidden. (The midterm paper is aimed to be a part of the final term paper.) D. Final Term Oral Presentation: 10% The individual oral presentation to the class should be around 20-30 minutes. The student will be required to provide an outline to the lecturer, as well as a copy of the bibliography or reference to each student in the class at the time of the presentation. E. Final Term Paper: 30% One final term paper (at least 8000 words in Chinese or 4000 words in English) to be submitted on week 16. The assignment will require both literary and historical critical research and reference to sources. All references (including bibliography and footnotes) should be either MLA (American) or MHRA (British) format. Single space, Times New Roman x12, A4 paper. Submission: hard copy is preferred. Plagiarism is strictly forbidden.
| 週次 | 主題 |
|---|---|
| 第 1 週 | Course Intro 1. P. J. Marshall, “Introduction” in The Oxford History of the British Empire: The Eighteenth Century, pp. 1-27 2. Romita Ray and Angela Rosenthal, “Britain and the World Beyond c. 1600-1900” in The History of British Art 1600-1870, pp. 85-120 Optional Reading: 3. Jeremy Hawthorn, “Theories of the gaze” in Literary Theory and Criticism, pp. 508-518 4. Cynthia Roman, “Art and Nation in Eighteenth-Century Britain” in A Companion to British Art: 1600 to the Present, pp. 201-219 |
| 第 2 週 | Empire and Art 1. Beth Fowkes Tobin, “Introduction: Toward a Cultural History of Colonialism” in Picturing Imperial Power: Colonial Subjects in Eighteenth-Century British Painting, pp. 1-26 2. T. J. Barringer, Geoff Quilley, and Douglas Fordham, “Introduction” in Art and the British Empire, pp. 1-19 Optional Reading: 3. Peter Burke, “Stereotypes of Others” in Eyewitnessing: The Uses of Images as Historical Evidence, pp. 123-139 4. “Violence, victors and victims: how to look at the art of the British empire”, https://www.theguardian.com/artanddesign/2015/nov/20/how-to-look-at-the-art-of-the-british-empire |
| 第 3 週 | Colonial Desire and Anxieties of Empire (Focus Artist: J. M. W. Turner, John Hamilton Mortimer) 1. Kay Dian Kriz, “Dido versus the Pirates: Turner’s Carthaginian Paintings and the Sublimation of Colonial Desire” in Prospects for the Nation: Recent Essays in British Landscape, 1750-1880, pp. 231-260 2. David H. Solkin, “‘Conquest, usurpation, wealth, luxury, famine’: Mortimer’s banditti and the anxieties of empire” in Art and the British Empire, pp. 120-138 |
| 第 4 週 | Landscape & Picturesque Painting 1. Ian McLean, “The expanded field of the picturesque: contested identities and empire in Sydney-Cove 1794” in Art and the British Empire, pp. 23-37 2. Jeffrey Auerbach. “The Picturesque and the Homogenisation of Empire.” The British Art Journal 5.1 (2004): 47-54 3. Sam Smiles, “Landscape Painting, c. 1770-1840” in A Companion to British Art: 1600 to the Present, pp. 397-421 |
| 第 5 週 | Marine Paintings and the Art of Navigation 1. Geoff Quilley, “Placing the Sea in Eighteenth-Century British Art” in Spreading Canvas: Eighteenth-Century British Marine Painting, pp. 41-61 2. Eleanor Hughes, “Ships of the ‘line’: marine paintings at the Royal Academy exhibition of 1784” in in Art and the British Empire, pp. 139-152 Optional Reading: 3. Luciana Martins and Felix Driver, “John Septimus Roe and the art of navigation” in Art and the British Empire, pp. 53-66 |
| 第 6 週 | Exploring the South Seas (Focus Artist: William Hodges) 1. Geoff Quilley, “William Hodges: artist of empire” in William Hodges 1744-1797: The Art of Exploration, pp. 1-7 2. David Bindman, “‘Philanthropy seems natural to mankind’: Hodges and Captain Cook’s second voyage to the South Seas” in William Hodges 1744-1797: The Art of Exploration, 21-26 3. Harriet Guest, “The Great Distinction: Figures of the Exotic in the Work of William Hodges.” Oxford Art Journal 12.2 (1989): 36-58 Optional Reading: 4. Kate Fullagar, “Man on a Mission: Mai from Ra‘iatea” in The Warrior, the Voyager, and the Artist: Three Lives in an Age of Empire, pp. 132-159 |
| 第 7 週 | British Orientalist Painting 2/1 (Focus Artist: William Hodges) 1. Natasha Eaton, “Hodge’s visual genealogy for colonial India, 1780-95” in William Hodges 1744-1797: The Art of Exploration, pp. 35-42 2. Beth Fowkes Tobin, “Native Land and Foreign Desires: William Penn’s Treaty with the Indians” in Picturing Imperial Power: Colonial Subjects in Eighteenth-Century British Painting, pp. 56-80 Optional Reading: 3. Renate Dohmen, “Introduction” in Empire and Art: British India, pp. 1-29 4. Renate Dohmen, “Chapter 1: Painting, prints and popular art in British India” in Empire and Art: British India, pp. 30-69 |
| 第 8 週 | 校際活動週(放假一天) |
| 第 9 週 | British Orientalist Painting 2/2 1. Mary Anne Stevens, “Western Art and its Encounter with the Islamic World” in The Orientalists, Delacroix to Matisse: European Painters in North Africa and the near East, pp. 15-31 2. Nicholas Tromans, “Harem and Home” in The Lure of the East: British Orientalist Painting, pp. 126-159 Optional Reading: 3. Nicholas Tromans, “Introduction: British Orientalist Painting” in The Lure of the East: British Orientalist Painting, pp. 10-21 |
| 第 10 週 | Midterm Midterm Paper Submission & Discussion with Course Instructor |
| 第 11 週 | Empire’s Artists (Focus Artist: Henry Raeburn, Sir Joshua Reynolds) 1. Viccy Coltman, “Henry Raeburn’s Portraits of Distant Sons in the Global British Empire”, pp. 294-311 2. Kate Fullagar, “Artist-Philosopher: Reynolds in Britain” in The Warrior, the Voyager, and the Artist: Three Lives in an Age of Empire, pp. 44-77 Optional Reading: 3. David H. Solkin, “Great Pictures or Great Men? Reynolds, Male Portraiture, and the Power of Art.” Oxford Art Journal 9.2 (1986): 42-49 |
| 第 12 週 | The Coloured People of Africa 1. “Africa and the Slave Trade” and “The Slave Colonies” in David Bindman and Henry Louis Gates, Jr., ed. The Image of the Black in Western Art. Vol. III: From the “Age of Discovery” to the Age of Abolition, Part 3: The Eighteenth Century, pp. 207-305. 2. “Figures of Empire: Slavery and Portraiture in Eighteenth-Century Atlantic Britain” (https://britishart.yale.edu/exhibitions-programs/figures-empire-slavery-and-portraiture-eighteenth-century-atlantic-britain) |
| 第 13 週 | Chinamania 2/1 (Focus Artist: William Hogarth) 1. David Porter “Eighteenth-century fashion and the aesthetics of the Chinese taste” in The Chinese Taste in Eighteenth-Century England, pp. 17-36 2. David Porter, “William Hogarth and the gendering of Chinese exoticism” in The Chinese Taste in Eighteenth-Century England, pp. 78-91 |
| 第 14 週 | Chinamania 2/2 (Focus Artist: William Alexander) 1. Stacey Sloboda, “Picturing China: William Alexander and the Visual Language of Chinoiserie.” The British Art Journal 9.2 (2008): 28-36 2. Aldous Bertram, “Lord Macartney’s Embassy to Peking, 1793: New Light on China and the English Landscape Garden.” The British Art Journal 14.2 (2013): 76-80 3. Romita Ray, “Storm in a teacup? Visualising tea consumption in the British empire” in Art and the British Empire, pp. 205-222 |
| 第 15 週 | Orientalist Museum and Botanic Empire 1. Howard J. M. Hanley, “Through British Eyes: Paintings from the Doha Orientalist Museum” The British Art Journal 11.2 (2010/11): 6-21 2. Beth Fowkes Tobin, “Imperial Designs: Botanical Illustration and the British Botanic Empire” in Picturing Imperial Power: Colonial Subjects in Eighteenth-Century British Painting, pp. 174-201 |
| 第 16 週 | Final Term Final Term Paper Submission and Oral Presentation |
| 第 17 週 | 彈性補充教學 |
| 第 18 週 | 彈性補充教學 |
Required reading title(s): Arnold, Dana and David Peters Corbett, ed. A Companion to British Art: 1600 to the Present. Oxford: Wiley-Blackwell, 2013. Print. Auerbach, Jeffrey. “The Picturesque and the Homogenisation of Empire.” The British Art Journal 5.1 (2004): 47-54. Print. Barringer, T. J., Geoff Quilley, Douglas Fordham, ed. Art and the British Empire. Manchester: Manchester University Press, 2007. Print. Bertram, Aldous. “Lord Macartney’s Embassy to Peking, 1793: New Light on China and the English Landscape Garden.” The British Art Journal 14.2 (2013): 76-80. Print. Bindman, David, ed. The History of British Art 1600-1870. London: Tate Publishing, 2008. Print. Bindman, David, Henry Louis Gates, Jr., ed. The Image of the Black in Western Art. Vol. III: From the “Age of Discovery” to the Age of Abolition, Part 3: The Eighteenth Century. Cambridge, Mass.: Harvard University Press, 2011. Print. Burke, Peter. Eyewitnessing: The Uses of Images as Historical Evidence. London: Reaktion Books, 2001. Print. Coltman, Viccy. “Henry Raeburn’s Portraits of Distant Sons in the Global British Empire.” The Art Bulletin 59.2 (2013): 294-311. Print. Dohmen, Renate, ed. Empire and Art: British India. Manchester: Manchester University Press, 2018. Print. Fullagar, Kate. The Warrior, the Voyager, and the Artist: Three Lives in an Age of Empire. New Haven: Yale University Press, 2020. Print. Guest, Harriet. “The Great Distinction: Figures of the Exotic in the Work of William Hodges.” Oxford Art Journal 12.2 (1989): 36-58. Print. Hanley, Howard J. M. “Through British Eyes: Paintings from the Doha Orientalist Museum” The British Art Journal 11.2 (2010/11): 6-21. Print. Hughes, Eleanor, ed. Spreading Canvas: Eighteenth-Century British Marine Painting. New Haven: Yale University Press, 2016. Print. Hyam, Ronald. Understanding the British Empire. Cambridge: Cambridge University Press, 2010. Print. Marshall, P. J., ed. The Oxford History of the British Empire: The Eighteenth Century. Vol. II. Oxford: Oxford University Press, 1998. Print. Newall, Diana, Emma Barker, Warren Carter, Kathleen Christian, Renate Dohmen, ed. Art and Its Global Histories: A Reader. Manchester: Manchester University Press, 2017. Print. Quilley, Geoff and John Bonehill, ed. William Hodges 1744-1797: The Art of Exploration. New Haven and London: Yale University Press for the National Maritime Museum, Greenwich, 2004. Print. Porter, David. The Chinese Taste in Eighteenth-Century England. Cambridge: Cambridge University Press, 2010. Print. Rosenthal, Michael, Christiana Payne, Scott Wilcox, ed. Prospects for the Nation: Recent Essays in British Landscape, 1750-1880. New Haven and London: Yale University Press, 1997. Print. Sloboda, Stacey. “Picturing China: William Alexander and the Visual Language of Chinoiserie.” The British Art Journal 9.2 (2008): 28-36. Print. Solkin, David H. “Great Pictures or Great Men? Reynolds, Male Portraiture, and the Power of Art.” Oxford Art Journal 9.2 (1986): 42-49. Print. Stevens, Mary Anne, ed. The Orientalists, Delacroix to Matisse: European Painters in North Africa and the near East. London: Royal Academy of Arts in association with Weidenfeld and Nicolson, 1984. Print. Tobin, Beth Fowkes. Picturing Imperial Power: Colonial Subjects in Eighteenth-Century British Painting. Durham, N.C.: Duke University Press, 1999. Print. Tromans, Nicholas ed. The Lure of the East: British Orientalist Painting. New Haven: Yale University Press, 2008. Print. Waugh, Patricia, ed. Literary Theory and Criticism. Oxford: Oxford University Press, 2006. Print. Optional reading title(s): Thornton, Lynne. Women as Portrayed in Orientalist Painting. Courbevoie: Art Creation Realisation, 1994. Print. Legouix, Susan. Image of China: William Alexander. London: Jupiter Books, 1980. Print. 威廉‧亞歷山大(William Alexander)。《1793英國使團畫家筆下的乾隆盛世..中國人的服飾和習俗圖鑒》。沈弘譯。浙江古籍出版社,2006。 吳芳思。《帝國掠影:英國使團畫家筆下的中國》。中華書局(香港),2007。 程美寶。《遇見黃東:18-19世紀珠江口的小人物與大世界》。中華書局(香港),2022。 布琮任。〈塔文化與長十八世紀英倫的中國風〉。時報文化(台北),2023。(即將出版)
- 地點
- 知行樓前棟310室
- 時間
- 待安排
- 聯絡方式
- kchiu@nycu.edu.tw