台灣當代女性藝術家扮裝表現之認同研究

Abstract

本論文的研究對象為台灣當代女性扮裝藝術家何孟娟、侯怡亭、葉怡利三人2000-2009年間的扮裝作品，探討三位藝術家的扮裝作品中呈現的認同觀點和狀態。女性藝術家擅於使用扮裝的顛覆力量並注重內在的自我探索，扮裝和女性的認同密切相關，女性藝術家經常透過扮裝表現其認同的建立、摸索或挫折。有鑒於過去對扮裝藝術的研究集中在性/別認同方面，本論文從角色認同和社會認同的角度來分析女性的扮裝藝術，建立台灣當代女性扮裝藝術的詮釋新面向。

本論文第一章為緒論。第二章耙梳扮裝藝術在西方的起源和發展，並整理台灣當代藝術中的扮裝潮流。第三章分析三位藝術家的扮裝作品形式、內容和意義，探究她們如何藉由扮裝再現自我並挖掘女性的主體意識和觀點。第四章從認同的觀點切入，討論她們扮裝作品中的角色認同傾向、扮裝心理狀態、社會認同的建構和社會規範的顛覆。透過扮裝的方式，女性藝術家再現自己認同的角色、批判或顛覆不認同的角色、建立新的角色形象以及傳達自身的認同。This thesis focuses on the masquerade works of contemporary Taiwanese female artists Isa Ho, Iting Hou, and Yili Yeh in 2000-2009, in which the viewpoints and status of identities of these three artists were investigated. Female artists are clever at presenting the subversive power of masquerade, and tend to lay stress on self-exploration. Being closely related to identities of women, Masquerade is a medium through which female artists usually express the establishment, exploration and frustration of their identities. While research interests in masquerade art have been mostly put on gender identity, this thesis analyzes female masquerade art from the angles of role identity and social identity, establishing a new way of interpreting Taiwanese contemporary female masquerade works.

Chapter one is introduction. In chapter two, the origin and development of masquerade art in the west and Taiwanese contemporary masquerade works are raked and combed. Chapter three is the analysis of the form, content and meaning of the masquerade works created by the three artists, investigating how they represent the female subjective identity and themselves through masquerade. Chapter four focuses on identity, discussing their role identity, the mental status of masquerade, the construction of social identity, and the subversion of social norms. By means of masquerade, female artists represent the roles that they identify with, criticize or subvert the roles that they don’t identify with, construct new role image, and convey their own identity.