Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115414
Title: 賴純純藝術創作之探討─以女性主義的觀點論述
A Study of Artist Lai, Jun Jun’s works : From Feminist Perspective
Authors: 陳瓊花 博士
Jo Chiung-Hua Chen
林幸妮
Lin,Hsing-Ni
Keywords: 賴純純
女性主義
女性藝術
女性特質
陰性書寫
Lai
Jun-Jun
feminist
feminist art
femininity
women’s writing
Issue Date: 2009
Abstract: 摘要 隨著台灣近年來女性意識思潮的高漲,此風氣也影響到了台灣藝術領域,女性藝術家的能見度隨之大幅度地提升,女性藝術的發展真實地反映出台灣半世紀以來社會文化的蛻變與多元後現代化的趨勢。本研究對象女性藝術家賴純純(1953-),三十多年來(1974-2008)豐富的藝術創作與女性意識融入藝術創作的具體實踐,樹立了其在台灣女性藝術界中不可磨滅的成功地位。研究者藉由本文第二章的部分,綜觀西方各派女性主義的特質與內涵,與分析台灣女性藝術發展的社會文化脈絡及其創作的性別意識等風格、形式之演變進行文獻的蒐集;同時,於第四章針對藝術家賴純純所生長的時代背景脈絡,作一全面性地探討,了解後天背景是否形塑了藝術家創作意識演變;並於第五章根據資料的整理歸納和藝術家本人的深入訪談,相互交叉比較彙整過後,運用研究者女性的視角去分析撰寫其藝術創作品間,風格形式演變的關聯性與可論性。 透過本研究的深度書寫,可發現藝術家賴純純生長的背景,正處於台灣當代藝術新興、女性意識覺醒的時代,在此時代脈絡背景下,深受此氛圍影響的她,透過藝術創作去表達她的生活經驗與人生哲學,多年的藝術創作正符合了女性意識覺醒內化的歷程,在她的創作中也可以清楚地觀看出台灣二十世紀末期女性藝術的整個風格型態的脈絡顯現。對藝術的無限熱情與執著,並致力於藝術教育的傳承,確立了她在台灣藝術界中的定位,期將生命融入藝術、不執著於意識形態的批判、轉向自我人生的昇華實踐,此人生藝術觀,也給了台灣未來女性藝術家最好的楷模。
Abstract In recent years, female ideological trends have been raised in Taiwan. This atmosphere has affected Taiwanese regions of art, and has promoted large scale in feminine artists’ visibilities. The development of feminine arts has actually reflected Taiwan for a half century in the social culture’s transformation and post-modernization’s tendencies with plurality. This object of study talks about a feminine artist Lai, Jun-Jun (1953-). During in these 30 years (1974-2008), there are many of plentiful artistic creations and the female consciousness. They are both integrated into the concrete practice of the artistic creations, and set up the Taiwanese feminine artistic circles with the indelible successful status. The researcher in this article from parts of second chapter, makes a comprehensive survey between different western feminisms' special characteristics and connotation. This article also analyzes the development of Taiwanese feminine art in society and culture, and collects the literature of sexual consciousness' evolutionary creation in styles and forms. At the same time, the fourth chapter talks about the time period of the artist Lai, Jun-Jun's growing background. This makes an entirely discussion and understanding whether the acquired background shape the model of the artists' evolution in their creative consciousness or not. Additionally, the fifth chapter includes the induction and the interviews with artists. After the entirely intercross comparison collected from now on, the researcher uses her feminine angle of view to analyze and compose its art creation of work and the relatedness between the evolvement of work styles and forms. Through this research's depth writing, it is detectable to detect that the artist Lai, Jun-Jun's growing background is began during the emerged age of Taiwanese modern art and the awakeness of female consciousness at that time. Under the background at this time, this atmosphere has influenced her toexpresse her experiences and the philosophy of life by creating art work. After many years, the artistic creations have been conformed to the stage of awakeness of female consciousness with internalization. The feminine art and appearance of style at last stage of 20th century in Taiwan is clearly seen in her art creation. Her infinite passion and rigid of art and devotion to inheritance of art education have established her position in Taiwanese artistic circle. She has integrated her life into art. Not rigid in the ideology critique, but to change the self-life to the sublimation practice. This life of art view also has given Taiwanese future feminine artists the best model.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0696600602%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115414
Other Identifiers: GN0696600602
Appears in Collections:學位論文

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