查詢結果分析
來源資料
相關文獻
- 《一一》之詮釋:對立與對偶
- 論佛洛姆的「愛的藝術」
- 簡論賀麟的基督教研究
- 荀子政治理性的詮釋
- 東亞經濟奇蹟會成為歷史陳跡?
- Ch'i-Sung as a Critic of Confucianism Represented by Han Yu
- Disparity and Continuum between Ancient Classics and Contemporary Culture: A Historicist Review
- Scriptures and Their Popularization: The Case of the Lun-yu and Hsiao-ching in the Han Dynasty
- 儒家與基督教對中西科學思想及其交流的影響
- 中國人的忍:概念分析與實徵研究
頁籤選單縮合
| 題 名 | 《一一》之詮釋:對立與對偶=Interpretation of "Yi Yi": Opposition and Duality |
|---|---|
| 作 者 | 黃慕清; | 書刊名 | 現代美術學報 |
| 卷 期 | 47 2024.08[民113.08] |
| 頁 次 | 頁113-154 |
| 專 輯 | 再繪楊德昌:電影及其藝術 |
| 分類號 | 987.933 |
| 關鍵詞 | 楊德昌; 佛洛姆; 愛的藝術; 場面調度; 儒家; Edward Yang; Erich Fromm; The Art of Loving; Mise-en-scène; Confucianism; |
| 語 文 | 中文(Chinese) |
| 中文摘要 | 電影《一一》(2000)之片名,至簡而神秘,對其意涵已有許多解讀,而本 文將嘗試以人際之愛的角度予以詮釋。我們主要援引之理論─佛洛姆(Erich Fromm)的《愛的藝術》(The Art of Loving, 1975),是當代西方談論「愛」之 為何物的經典之作。佛洛姆之理論意在反思、剖析資本主義所導致人之異化的存 在狀態,並提出精神性之出路。而事實上,其對「創造性之愛」的觀察與倡導, 與儒家傳統文化對「仁愛」之詮釋與強調極為相契。 在其電影創作生涯中,楊德昌始終關心台灣作為現代華人社會,所面對之人性異 化的生存景況,進而在其作品《獨立時代》(1994)之英文片名,採用了「儒者 的困惑」(A Confucian Confusion)這樣的翻譯。是故,我們應可將楊德昌最後遺 作《一一》所欲傳達對人性的思考與仁愛之價值,視為對電影《儒者的困惑》關 於現代社會人性之深刻質問的回應。 行文中,我們將著力解析楊德昌細緻而繁複的場面調度,如何在形式上開展、深 化其對「愛」的辯證探討,希冀一方面探其作品意念及思維之深度,一方面亦撫 其獨特之形式質地。 |
| 英文摘要 | The title of the film “Yi Yi”(2000) is simple and mysterious, and there have been many interpretations of its meaning. In this article, we will attempt to interpret it from the perspective of interpersonal love. The main theory we refer to is Erich Fromm's “The Art of Loving” which is a classic contemporary Western work discussing the nature of “love”. Fromm's theory aims to reflect on and analyze the state of human alienation caused by capitalism, proposing a spiritual solution. In fact, his observations and advocacy for “productive love” conform with the Confucian traditional interpretation and emphasis on “benevolence” in Chinese culture. In his filmmaking career, Edward Yang has consistently been concerned with the existential condition of human alienation in Taiwan as a modern Chinese society. In his work “Du Li Shih Dai( 獨立時代 , 1994) ”, the English title of the film reflects this concern by using the translation “A Confucian Confusion”. Therefore, we could consider the reflection on human nature and the value of benevolence that Edward Yang's final masterpiece “Yi Yi” intended to convey as a response to the profound questions about the human condition in modern society posed by the film “A Confucian Confusion.” In the text, we will focus on dissecting Edward Yang's meticulous and intricate mise-en-scène, exploring how he unfolds and deepens his dialectical exploration of love in formal terms. We aim to delve into the depth of his conceptual ideas and thoughts on one hand, and on the other hand, appreciate the unique formal qualities of his work. |
本系統中英文摘要資訊取自各篇刊載內容。