十九世紀西方視覺文化專題
Western Visual Culture in the Nineteenth Century
學期
113-2
學分
3
學分
當期課號
133302
永久課號
SHVC30001
開課單位
視覺文化研究所
授課教師
黃桂瑩
校區
陽明
類別
選修
上課時間表
| 節 | 週四 |
|---|---|
3 10:10–11:00 | 十九世紀西方視覺文化專題 YX322 3 節連堂 |
4 11:10–12:00 | |
N 12:20–13:10 |
* 根據陽明交大上課時間表所列
概述
【教學目標】 隨著工業革命與商業資本主義的勃興發展,十九世紀西方視覺文化亦與前期產生極大的質變,其中因素複雜且多元。在此專題課程中,我們將以廣泛定義下的物質文化為出發點,關注物件本身的特質或技術如何打造一種新的視覺文化,形成時人理解世界的角度。專題中將探討此時期展示與傳播機制的演變(報章媒體,展覽機制)、大眾與奇觀文化的內涵、視覺技術的推演(全景戲院,攝影術,早期電影)、現代城市的發展、消費主義的興起,以及都會空間中因性別、階級以及個人/群眾的認同區別所產生的不同視角。在專題中亦將適時閱讀關鍵史料以及當代理論,帶領同學以獨立的角度省思,在目前蔚然成觀的十九世紀視覺文化研究之下,是否能有不同的詮釋方式。
先修科目
【授課方式】 為切合西方視覺文化的主題並培養同學閱讀能力,本課程閱讀資料以英文學術著作為主,輔以中文著作。每週均有指定閱讀範圍,同學需於課前閱讀完畢,於課堂積極參與討論,以訓練同學的表達與詮釋能力。
評分方式
【評量方式】 1. 平時出席:10% 2. 課堂口頭參與及報告:20% 3. 期中報告(3000字以上,含註釋及參考書目):25% 4. 期末口頭報告:10% 5. 期末報告(7000字以上,含註釋及參考書目。期末報告主題可為期中報告內容的延伸,但須先與老師討論可行性):35% 【報告繳交期限】 114年 6月 25日(暫訂) 午夜12:00之前上傳至e-campus,遲交分數將乘以0.9計算
週次計畫
| 週次 | 主題 |
|---|---|
| 第 1 週 | 印刷文化與階級政治 1. Robert Justin Goldstein, “Censorship of Caricature and the Theater in Nineteenth-Century France: An Overview,” Yale French Studies, No. 122, Out of Sight: Political Censorship of the Visual Arts in Nineteenth-Century France (2012), pp. 14-36. 2. Brian Maidment, “Graphic Bric-a-brac: Comic Visual Culture and the Study of Early Victorian Lower-Class Urban Culture,” Key Words: A Journal of Cultural Materialism, No. 8 (2010), pp. 76-93. |
| 第 2 週 | 全景敞視主義與群眾的規訓 1. Michael Chapman, “Circularity, Power and the Technologies of Seeing: Panopticism and its Antithesis as Spatial Archetypes of Visual Contraception in Space,” Design Research Society. International Conference in Lisbon (2006), pp. 1-11. 2. Chris Otter, The Victorian Eye : a Political History of Light and Vision in Britain, 1800-1910 (Chicago : University of Chicago Press, 2008) chapter 1, “The Victorian Eye: the Physiology, Sociology, and Spatiality of Vision, 1800-1900,” (選讀部分)pp. 22-38. 參考: Michel Foucault, Discipline and Punish: the Birth of the Prison, trans. Alan Sheridan (New York: Vintage Books, 1979 ), chapter 3, “Panopticism,” pp. 195-228. (中文版:傅科 著,劉北成、楊遠嬰譯,《規訓與懲罰:監獄的誕生》, (台北:桂冠圖書,1998年),第三章,「全景敞視主義 |
| 第 3 週 | 課程導論 Venessa R. Schwartz and Jeannene M. Przyblyski, “Visual Culture’s History: Twenty-first Century Interdisciplinarity and Its Nineteenth-century Objects,” in Venessa R. Schwartz and Jeannene M. Przyblyski (eds.), The Nineteenth-century Visual Culture Reader (New York: Routledge, 2008), (選讀部分) pp. 6-14. |
| 第 4 週 | 觀察者、技術與主體性 (I):觀察者的重組 1. 強納森‧科拉瑞著,蔡佩君譯,《觀察者的技術:論十九世紀的視覺與現代性》,(台北:行人,2007年),第一章「現代性與觀察者的問題」,頁3-45。 2. John Ott, “Iron Horses: Leland Stanford, Eadweard Muybridge, and the Industrialised Eye,” Oxford Art Journal, Vol. 28, No. 3 (2005), pp. 407-428 |
| 第 5 週 | 觀察者、技術與主體性 (II):暗箱的隱喻 1. 強納森‧科拉瑞著,蔡佩君譯,《觀察者的技術:論十九世紀的視覺與現代性》,(台北:行人,2007年),第二章「暗箱及其主體」,頁47-108。 2. Vanessa Warne, “ ‘So that the Sense of Touch May Supply the Want of Sight’: Blind Reading and Nineteenth-Century British Print Culture,” in Colette Colligan and Margaret Linley (eds.,) Media, Technology, and Literature in the Nineteenth Century: Image, Sound, Touch (Farnham: Ashgate, 2011) pp. 43-64. |
| 第 6 週 | 科學視野與身體觀 (I):達爾文主義的詮釋 1. Janet Browne, “Darwin in Caricature: A Study in the Popularization and Dissemination of Evolutionary Theory,” pp. 18-39, in The Art of Evolution: Darwin, Darwinism, and Visual Culture (Hanover: Dartmouth College Press, 2009) 2. Jonathan Smith, Charles Darwin and Victorian Visual Culture (Cambridge: Cambridge University Press, 2009), chapter 6, “Darwin’s Face II”, pp. 214-243. |
| 第 7 週 | 春假,停課一次 |
| 第 8 週 | 科學視野與身體觀 (II):瘋狂與美的再現/邊界 1. Kimberly Rhodes, Ophelia and Victorian Visual Culture: Representing Body Politics in the Nineteenth Century (Aldershot: Ashgate, 2008), chapter 4, “From Life: Ophelia and Photography,” pp. 127-158. 2. Rachel Teukolsky, The Literate Eye: Victorian Art Writing and Modernist Aesthetics (Oxford: Oxford University Press, 2009), chapter 4, “Socialist Design at the Fin-de-Siècle: Biology, Beauty, Utopia,” pp. 149-191. |
| 第 9 週 | 期中口頭報告 |
| 第 10 週 | 觀察者、技術與主體性 (III) :技術物的介入 1. 強納森‧科拉瑞著,蔡佩君譯,《觀察者的技術:論十九世紀的視覺與現代性》,(台北:行人,2007年),第四章「觀察者的技術」,頁157-214。 2. 李思逸,《鐵路現代性:晚清至民國的時空體驗與文化想像》,(台北:時報文化,2020年)第二章「從視覺圖像出發---《點石齋畫報》中的鐵路與火車」,頁89-133。 |
| 第 11 週 | 奇觀與大眾文化 1. Erin O’Connor, Raw Material: Producing Pathology in Victorian Culture (Durham & London: Duke University Press, 2000), chapter 4, “Monsters, Materials, Methods,” pp. 148-208. 2. Barbora Pitova, “Freak Shows. Otherness of the Human Body as a Form of Public Presentation,” Anthropologie (1962-), Vol. 56, No. 2, Special Issue: Papers dedicated to the memory of Eugen Strouhal Part 1 (2018), pp. 91-102 |
| 第 12 週 | 帝國的視野 1. Jeff Rosen, “Saint-Pierre’s Exiles: Myths of Origins and National Identity,” in Jeff Rosen, Julia Margaret Cameron’s ‘Fancy Subjects’: Photographic Allegories of Victorian Identity and Empire (Manchester: Manchester University Press, 2016), pp. 30-65. 2. Christopher Cowell, “Borrowed Verses: Code and Representation within the First Travelogue of the City of Hong Kong, 1841-42,” in Eleonora Sasso (ed.), Late Victorian Orientalism: Representation of the East in Nineteenth-Century Literature, Art and Culture from the Pre-Raphaelites to John La Farge (London: Anthem Press, 2020), pp.133-162. |
| 第 13 週 | 種族身體的展現與再現 1. Marcy J. Dinius, “Seeing a Slave as a Man: Frederick Douglass, Racial Progress, and Daguerreian Portraiture,” The Camera and the Press: American Visual and Print Culture in the Age of the Daguerreotype (Philadelphia: University of Pennsylvania Press, 2012), pp. 192-232. 2. Sarah Blackwood, “Making Good Use of Our Eyes": Nineteenth-Century African Americans Write Visual Culture,” MELUS, Vol. 39, No. 2, Visual Culture and Race (Summer 2014), pp. 42-65. |
| 第 14 週 | 時尚消費與性別形象 1. 黃桂瑩,〈展演女性氣質:海沃頓家庭相本與維多利亞少女形象〉,《藝術學研究》 , 21期,(2017年12月),頁125-208 。 2. Brent Shannon, “Refashioning Men: Fashion, Masculinity, and the Cultivation of the Male Consumer in Britain, 1860-1914,” Victorian Studies, Vol. 46, No. 4 (Summer, 2004), pp. 597-630 |
| 第 15 週 | 電影與世紀末視覺性 1. Vanessa Schwartz, “Cinematic Spectatorship before the Apparatus: The Public Taste for Reality in Fin-de-Siècle Paris,” in Leo Charney and Vanessa Schwartz(eds.), Cinema and the Invention of Modern Life (Berkeley: University of California Press, 1995), pp. 87-113. 2. Lynda Nead, The Haunted Gallery: Painting, Photography and Film around 1900 (New Haven: Yale University Press, 2007) 第二章。 |
| 第 16 週 | 期末口頭報告 |
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