 |
English
|
正體中文
|
简体中文
|
Post-Print筆數 : 27 |
Items with full text/Total items : 111144/142064 (78%)
Visitors : 48088724
Online Users : 993
|
|
|
Loading...
|
Please use this identifier to cite or link to this item:
https://nccur.lib.nccu.edu.tw/handle/140.119/73664
|
| Title: | 「朽孕同體、生死合一」： 尤斯曼攝影蒙太奇中的詭態身體 |
| Other Titles: | “A pregnant and regenerating death”: The Grotesque Body in Uelsmann’s Photomontages |
| Authors: | 趙順良
Chao, Shun-liang |
| Contributors: | 英文系 |
| Keywords: | 詭態;賤下;生寓於死;嘉年華;大地(之母)
grotesque;degradation;death-renewal-fertility carnival;(mother) earth |
| Date: | 2014-06 |
| Issue Date: | 2015-03-04 16:16:33 (UTC+8) |
| Abstract: | 美國攝影家尤斯曼的作品以蒙太奇影像著稱，而詭態身體乃位居其蒙太奇影像中的核心。然而，至今尚未有文章專 論尤式作品中的詭態影像。尤式作品帶有強烈太初（genesis） 與土地特色，因此其詭態身體意象常跟大地與山川等自然元 素結合以表達生命的起源與能量。尤式作品的詭態身體因而 跟巴氏的「詭態寫實主義」產生連結。此主義讚揚嘉年華式「賤下」（degradation）：所有在上位的（有形與無形皆然） 被破壞貶低跟大地或自然（之母）結合以重生成「廣袤無垠 的」身體。此種「朽孕同體、生死合一」的身體乃是一種變 動不居、二元混融的身體，迥異於官方、古典美學所呈現之 封閉、乾淨、不變的身體。尤式的攝影蒙太奇所要顛覆的即 是一種封閉、乾淨的美學：亞當斯（Ansel Adams）等人提倡 的「預視化」（pre-visualization）攝影法主導二次戰後美國的 攝影界，致力呈現猶如牛頓宇宙般的絕對質（absolutes）世 界。尤式影像的產生則是透過組合曬印法使不同時空的異質 元素，不論是有機或無機、天然或人造，相互滲透形成一個 眾聲喧嘩、變動不居的世界。因此從圖像學（iconography） 與美學理念的角度出發，本文嘗試以巴氏的詭態理論閱讀尤 式的詭態身體圖像。其目的有二：為解讀尤式核心作品中的 詭態影像以幫助觀者能更深入瞭解尤式作品的真諦；達成此 目的同時也可為巴赫汀的詭態理論——奠基於文藝復興文學作品——提供一個二十世紀的視覺詭態實例。
Uelsmann is noted for his peculiar photomontages, whose centrepiece is the grotesque body. Nevertheless, no critic has endeavoured to carry out an in-depth discussion of his grotesque images. Uelsmann’s works feature a sort of earth-type or genesis quality, and therefore his grotesque bodily images often merge with natural elements to suggest the natural cycle of life. This situation allows the grotesque body in Uelsmann’s works to be invested with Bakhtin’s notion of “grotesque realism.” “Grotesque realism” celebrates carnivalesque “degradation”: all that is high descends into the womb of the earth in order to be reborn into a cosmic and universal body. Hence, “a pregnant and regenerating death.” The Bakhtinian grotesque body recurs in Uelsmann`s photomontages. Such a grotesque body, Bakhtin stresses, is of dynamic and relative nature, as opposed to the official, classical aesthetics of the absolute, finished, and static. In fact, in the 1960s, Uelsmann began to engage himself in “post-visualizatio,” an aesthetics of continual becoming that challenged the then dominant, official aesthetics of “pre-visualization,” propagated by Ansel Adams to create a world of the Newtonian absolutes. Iconographically and aesthetically, then, Uelsmann’s grotesque bodily images speak to Bakhtin’s concept of “grotesque realism.” This paper will be divided into two parts: I will first formulate Bakhtin’s notion of the grotesque as the theoretical framework and then move on to elucidate how the Bakhtinian grotesque manifests itself in Uelsmann’s photomontages. Through the two-part analysis, this paper will illuminate the nature of Uelsmann’s grotesque images as well as illustrate twentieth-century grotesquerie for Bakhtin’s theory of the grotesque—grounded on Renaissance literature. |
| Relation: | 文山評論：文學與文化, 7(2), 47-75 |
| Data Type: | article |
| Appears in Collections: | [英國語文學系] 期刊論文
[文山評論：文學與文化 THCI Core] 期刊論文
|
Files in This Item:
| File |
Description |
Size | Format | |
|---|
| 47-75.pdf | | 1916Kb | Adobe PDF2 | 691 | View/Open |
|
All items in 政大典藏 are protected by copyright, with all rights reserved.
|
著作權政策宣告 Copyright Announcement1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.
2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(
nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(
nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
