現當代視覺文化中的身體與扮裝
Body and Masquerade in Modern and Contemporary Visual Cultures
學期
112-2
學分
3
學分
當期課號
133303
永久課號
SHVC30018
開課單位
視覺文化研究所
授課教師
劉瑞琪
校區
陽明
類別
選修
上課時間表
| 節 | 週三 |
|---|---|
5 13:20–14:10 | 現當代視覺文化中的身體與扮裝 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
概述
這門課程將從性別、酷兒與後殖民論述出發,探索現當代視覺文化中的身體與扮裝議題。從1960年代末期第二波婦女運動開始,女性主義學者一般較為關注女性形象的再現議題,到了1990年代酷兒研究與男性氣質研究逐漸風行。課程的目標在於讓學生瞭解一些主要的議題、觀點與理論,以及多面呈現最有(新興)研究成果的一些案例,包括裸體與裸露論述、(女性)拜物主義、女性/男性氣質作為扮裝、女性紈褲主義、性別/酷兒操演、敢曝美學與政治、女性與賤斥/詭態、陰性崇高、母體式觀視、後人類與當代女性主義藝術等等。我們尤其會特別關注變化中的身體與扮裝,如何成為性別、種族與性慾少數自我再現的譬喻與策略。課程的目標將透過閱讀、討論、口頭報告、書面報告等等,訓練學生運用課堂所學的理論與觀點,發展自己的分析與研究能力。
先修科目
無
教學方式
課程將透過閱讀、討論、口頭報告、書面報告等等,訓練學生運用課堂所學的理論與觀點,發展自己的分析與研究能力。
評分方式
1. 課堂口頭報告20% 2. 課堂參與討論20% 3. 期中報告(5/8繳交,3000-5000字,為期末報告的雛形)10% 4. 期末口頭報告10% 5. 期末報告(10000字左右)40%
週次計畫
| 週次 | 主題 |
|---|---|
| 第 1 週 | 簡介身體與扮裝議題 |
| 第 2 週 | 放假:和平紀念日 |
| 第 3 週 | From the Female Nude to the Female Body Lynda Nead著,侯宜人譯,《女性裸體》(台北市:遠流,1995),頁1-55,101-33。 |
| 第 4 週 | Fetishism and Photography Christian Metz, “Photography and Fetish,” in October, 34 (Fall 1985), pp. 81-90. Whitney Chadwick, “Fetishizing Fashion/ Fetishizing Culture: Man Ray’s Noire et Blanche,” in Oxford Art Journal, 18: 2 (1995), pp. 3-17. |
| 第 5 週 | Female Fetishism Lorraine Gamman & Merja Makinen, “Female Fetishism Conflated: Representations of ‘Fetishism’,” in Female Fetishism (London: Lawrence & Wishart Limited, 1994), pp. 171-212. 劉瑞琪,〈莎莉.曼恩兒童攝影中的母性拜物主義〉,《國立台灣大學美術史 研究集刊》,第十七期(2004年9月),台北:國立台灣大學藝術史研究所,頁 191-226。 |
| 第 6 週 | Femininity as MasqueradeMasculinity as Masquerade Joan Rivière, “Womanliness as a Masquerade (1929),” in Formations of Fantasy, ed. Victor Burgin et al. (London, 1986), pp. 35-44. Miranda Welby-Everard, “Imaging the Actor: The Theatre of Claude Cahun,” in Oxford Art Journal, 29: 1 (2006), pp. 3-24. 推薦: Jennifer Blessing, Rrose is a Rrose is a Rrose: Gender Performance in Photography (New York: Abrams, 1997), pp. 81-119. |
| 第 7 週 | 放假:校際活動週 |
| 第 8 週 | Masculinity as Masquerade Harry Brod, “Masculinity as Masquerade,” in The Masculine Masquerade: Masculinity and Representation, ed. Andrew Perchuk and Helene Posner (Cambridge, MA and London: MIT Press, 1995), pp. 13-20. Amelia Jones, “’Clothes Make the Man’: The Male Artist as a Performative Function,” in Oxford Art Journal, 18: 2 (1995), pp. 18-32. 推薦:(Reading The Male Body on Display) Liesbet van Zoonen著,張錦華、劉容玫譯,〈觀看和注視〉,《女性主義媒介研究》(台北:遠流,2001),頁136-46。 Susan Bordo, “Beauty (Re)discovers the Male Body,” in The Male Body: A New Look at Men in Public and in Private (New York: Farrar, Strauss and Giroux, 1999), pp. 168-225. |
| 第 9 週 | Fashioning Female Dandyism 劉瑞琪,〈呼喚紈褲女的隱藏名字?--1920年代柏倫妮斯.艾比特的同女作家肖像攝影〉,《文化研究》,第十三期(2011 年 秋季),台北市:遠 流,頁 7-56。 推薦: Laura Doan, “Passing Fashions: Reading Female Masculinities in the 1920s,” in Feminist Studies, 24: 3 (Fall 1998), pp. 663-700. Joe Lucchesi, “‘The Dandy in Me’: Romaine Brooks’s 1923 Portraits,” in Dandies: Fashion and Finesse in Art and Culture, ed. Susan Fillen-Yeh (NewYork: New York University, 2001), pp. 153-84. Tirza True Latimer, Women Together/Women Apart: Portraits of Lesbian Paris (New Brunswick, NJ: Rutgers University Press, 2005). |
| 第 10 週 | Gender Performativity: Yayoi Kusama Judith Butler著,聞翊均、廖珮杏譯,〈身體的銘刻,操演的顛覆〉,《性/別惑亂》(台北:時報,2023),頁341-69。 Midori Yoshimoto, “Performing the Self: Yayoi Kusama and Her Ever-Expanding Universe,” in Into Performance: Japanese Women Artists in NewYork (New Brunswick, NJ: Rutgers University Press, 2005), pp. 45-78, 212-26. 推薦: Alexandra Munroe, “Obsession, Fantasy and Outrage: The Art of Yayoi Kusama,” in Yayoi Kusama: A Retrospective, ed. Bhupendra Karia (New York: Center for International Contemporary Arts, 1989), pp. 11-35. |
| 第 11 週 | Queer Performativity: Andy Warhol、三島由紀夫、森村泰昌 Richard Meyer, “Warhol’s Clone,” in Yale Journal of Criticism, 7: 1 (Spring 1994), pp. 79-109. Vera Mackie, “Understanding through the Body: The Masquerades of Mishima Yukio and Mornimura Yasumasa,” in Genders, Transgenders, and Sexualities in Japan, ed. Mark McLelland and Romit Dasgupta (London and New York: Routledge, 2005), pp. 126-144. |
| 第 12 週 | Camp: Aesthetics and Politics : Lady Gaga Katrin Horn, “Follow the Glitter Way: Lady Gaga and Camp,” in The Performance Identities of Lady Gaga, ed. Richard J. Gray (North Carolina: McFarland Publishing, 2012), pp. 85-106. 推薦: Susan Sontag, “Notes on Camp (1964),” reprinted in Against Interpretation and Other Essays (New York: DellPublishing, 1966), pp. 275-92. 【張帆譯,〈“侃皮”劄記〉,http://individual.utoronto.ca/variations/notesoncamp.htm】 Esther Newton, “Chapter Five: Role Models (1972),” in Mother Camp: Female Impersonators in America (Chicago and London: The University of Chicago Press, 1979), pp. 97-111. Kyle Turner, “Is Camp Still Camp if the Met Gala Makes it a Theme?,”https://hyperallergic.com/499031/met-gala-2019-camp/ |
| 第 13 週 | Abjection performances by Contemporary Female Artists Nina Athanassoglou-Kallmyer, “Ugly, Formless, Abject,” in Critical Terms for Art History, Second Edition, ed. Robert S. Nelson and Richard Shiff (Chicago: University of Chicago Press, 2003), pp. 290-95. Christine Ross, “To Touch the Other: A Story of Corpo-Electronic Surfaces (1996),”in The Feminism and Visual Cultural Reader, ed. Amelia Jones (London and New York: Routledge, 2003), pp. 514-19. Christine Ross, “Redefinitions of Abjection in Contemporary Performances of the Female Body,” in Modern Art and the Grotesque, ed. Frances S. Connelly (Cambridge: Cambridge University Press, 2003), pp. 281-90. 推薦: Mary Russo, “Female Grotesques: Carnival and Theory,” in The Female Grotesque: Risk, Excess, and Modernity (London and New York: Routledge, 1994), pp. 53-73, 195-200. |
| 第 14 週 | Feminine Sublime and the Matrixial Gaze Griselda Pollock著,倪明萃譯,〈創傷年代的美學感同與見證〉,《藝術學研究》,第八期(2011年5月),頁73-126。 劉瑞琪,〈陰性崇高: 黎‧米勒的戰爭攝影〉,《文化研究》,第十七期(2013年秋季),頁 87-122。 |
| 第 15 週 | Posthumanism in Contemporary Feminist Art Francesca Ferrando, “A Feminist Genealogy of Posthuman Aesthetics in the Visual Arts (2016),” in Posthumanism in Art and Science: A Reader, ed. Giovanni Aloi and Susan McHugh (New York: Columbia University Press, 2020), pp. 47-54. María Fernández,“Reading Posthumanism in Feminist New Media Art,” in A Companion to Feminist Art, ed. Hilary Robinson and Maria Elena Buszek (Hoboken, NJ: Wiley-Blackwell, 2019), pp. 299-314. |
| 第 16 週 | 期末口頭報告 |
| 第 17 週 | 彈性補充教學 |
| 第 18 週 | 彈性補充教學 |
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