頁籤選單縮合
題名 | 變幻不居的鏡像 : 猶太同女攝影家克勞德.卡恩的自拍像=Mirroring a Jewish Lesbian's Identity : Self-representation by Claude Cahun |
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作 者 | 劉瑞琪; | 書刊名 | 臺大文史哲學報 |
卷期 | 55 2001.11[民90.11] |
頁次 | 頁165-212 |
分類號 | 950.9942 |
關鍵詞 | 克勞德.卡恩; 超現實; 攝影; 自拍像; 女同性戀; 猶太女人; 敢曝; Claude Cahun; Surrealism; Photography; Self-representation; Lesbian; Jewess; Camp; |
語文 | 中文(Chinese) |
中文摘要 | 這篇論文主要探討猶太同女攝影家克勞德.卡恩的字拍像,卡恩不僅是唯一在1920年代,抵達創作巔峰的超現實主義女攝影家,她的作品中所展現的後現代感性,還成為許多後現代女性藝術家的先驅。本文試圖藉對卡恩代表作的風格與圖像分析,輔以既有評論、歷史背景與文化論述,建構卡恩充滿性別、性慾與族裔的認同銘刻的超現實主義。筆者除了將卡恩的自我再現,放到超現實主義、新女性、女同性戀、猶太女人的歷史與文化脈絡中看待,還嘗試以心理分析、記號學、解構主義、女性主義、寓言理論、敢曝理論、猶太哲學等等批評理論,更具體而多面地詮釋卡恩作品的美學與政治意涵,為卡恩在藝術史上爭取到應得的主體位置。 |
英文摘要 | This article deals with self-representations by the Jewish lesbian photographer, Claude Cahun. She is the only Surrealist woman photographer who achieved her creative maturity in the 1920s. Her work also foreshadows photography of some postmodern feminist artists. This article, based on the analyses of Cahun's work, documentation, criticism, and historical context, will decode Cahun's inscriptions of her fluid and polysemic gender, sexual, and racial identities. The author will employ critical theory, such as psychoanalysis, semiotics, deconstruction, feminism, allegoric theory, Camp theory, and Jewish philosophy, in order to elucidate the aesthetics and politics of Cahun's self-representations. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。