日記裡的生活世界─楊志雅的冊頁創作研究
| dc.contributor | 李君毅 | zh_TW |
| dc.contributor | Lee, Chun-Yi | en_US |
| dc.contributor.author | 楊志雅 | zh_TW |
| dc.contributor.author | Yang, Chih-Ya | en_US |
| dc.date.accessioned | 2020-12-10T03:06:39Z | |
| dc.date.available | 2016-01-29 | |
| dc.date.available | 2020-12-10T03:06:39Z | |
| dc.date.issued | 2016 | |
| dc.description.abstract | 本文是以筆者的冊頁日記系列作品為研究對象，這一系列東方媒材的創作，內容主題集中在個人生活世界的呈現，為表達日記的意象遂採用冊頁的裝裱形式。自古至今，冊頁一直是中國歷久不衰的書畫裝裱樣式，筆者創作借重冊頁可被翻閱的紙本形式來乘載日記內容，探討個人生活的意義建構。文中從現象學之父胡塞爾的「生活世界」觀點談起，帶入梅洛龐蒂「身體」的概念，用以解釋每個人的「生活世界」與其選擇的生活實踐方式不同而相異，繼而介紹筆者反映在日記冊頁上的「生活世界」，探討筆者日記記錄形式的創作行為。 在創作理念與實踐部分，概述了冊頁裝裱的源起和類型，是為了之後和筆者的當代冊頁創作做比較。在本文論述的作品當中，顯現一種陰性基調，這種基調是從陰性書寫而來，所以特用一節介紹陰性書寫於筆者創作之間的關聯。並提出古今各一位女性冊頁創作者來檢視冊頁創作的變化，一是明末清初的陳書，另一位是當代的彭薇。 除了陰性書寫的特質之外，本文所提及的日記冊頁作品尚有兩項特點：賞玩的便利性，以及幽僻的小宇宙。最後提出筆者創作與傳統冊頁的不同，以及，需把握生活世界中的知覺體驗，實踐在日記冊頁創作上，以繼續建構和深化個人生活的意義。 | zh_TW |
| dc.description.abstract | The thesis focused on author’s album diary ink paintings. Those paintings were created with eastern materials and mainly about presenting personal lifeworld. In order to give a more explicit form of the well-known diary style, this series were mounted in the album leaf format. Album leaf has been one of long lasting mounting formats since ancient time. The author used this kind of page-turning format to contain her diary and to study of constructing the meaning of personal lifeworld. This study was constructed from Husserl, the founder of phenomenology, his perspective of “Lebenswelt”. Then it followed by Merleau-Ponty’s concept of a “Living Body”, so as to explain that everyone’s lifeworld differs from the way he/she practicing his/her own life. Next, this thesis introduced the lifeworld which the author reflected on her album paintings, and discussed her creative behavior in daily record. In section of creating ideas and practicing, it briefly elaborated about the origin and types of album mounting, with a view to compare with author’s modern album paintings. All the works that had been reviewed and commented in this thesis presented a certain atmosphere of femininity, which derived from L'ecriture Feminine. Therefore, there was one section introducing the connection between L'ecriture Feminine and author’s paintings. Meanwhile, this study mentioned two Chinese female album artists: one was Chen Shu from Ching Dynasty, and the other was Peng Wei from present, in order to reveal the evolution of album painting. Apart from L'ecriture Feminine, there were two more characteristics of album paintings: the convenience of viewing, and the universe of one’s private world. In the end, the author revealed the difference between her works and traditional album paintings. As a conclusion, the thesis emphasized the importance of seizing every little experience in lifeworld and practicing in diary album painting, for the purpose of deepening the meaning of one’s daily life. | en_US |
| dc.description.sponsorship | 美術學系 | zh_TW |
| dc.identifier | G060060013T | |
| dc.identifier.uri | http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060060013T%22.& | |
| dc.identifier.uri | http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114581 | |
| dc.language | 中文 | |
| dc.subject | 生活世界 | zh_TW |
| dc.subject | 陰性書寫 | zh_TW |
| dc.subject | 日記 | zh_TW |
| dc.subject | 冊頁 | zh_TW |
| dc.subject | 當代水墨 | zh_TW |
| dc.subject | lifeworld | en_US |
| dc.subject | L'ecriture Feminine | en_US |
| dc.subject | diary | en_US |
| dc.subject | album | en_US |
| dc.subject | contemporary ink painting | en_US |
| dc.title | 日記裡的生活世界─楊志雅的冊頁創作研究 | zh_TW |
| dc.title | The Lifeworld in My Diary–A Study of Album Paintings by Yang Chih-Ya | en_US |
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