國家圖書館典藏電子論文全文

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市败皮
5 years ago
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2 No

3 3 9 No V No

4 4 13 Keith Jenkins Re-thing History

5 Michel Foucalt

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7 7 ambivalence Homi Bhabha colonial discourse mimic mockery mimicry 22 Bhabha replicas mimicry mimic Bhabha 22 Bill Ashcroft, Gareth Griffiths and Helen Tiffin, Key Concepts in Post-colonial Studies(London: Routledge, 1998),pp Homi k. Bhabha, Of Mimicry and Man, The Location of Culture(London: Routledge, 1994), p.90. 7

8 8 modernity modern modernus pre-modern colonial discourse social institutions ratioanilty civilized behaviour imperialism colonialism Michael Doyle 24 Jürgen Habermas, Modernity versus postmodernity, New German Critique, 22, 1981, p.9. 8

9 Edward W. Said Culture and Imperialism(New York: Alfred A. Knopf, 1993), p.9. 9

11 Westernization 11

12 ( 1994)

13 I( 1988) ( 1987) I

15 I

16 16 46 (1811) (Jaques Lacan)

18 18 52 Antonio Fontanesi (Barbizon School 1878 Fontanesi 53 Gustave Courbet, ( 1993) 5 56 ( 1990) 5 18

19 19 ambivalence appropriation hybridity mimicry Fenollosa 57 I Fenollosa ( 1978) ( ) 19

20 20 ()( 1990) Fenollosa I

21 Fenollosa Antonio Fontanesi Fontanesi

26 ( 1977)

27 ( 1993) I ( ) 27

28 28 28 ü ( 1981) ( )

29 I

30 ( ) ( ( )

31 ( 1971)

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36 sublime

37 Wordsworth Mitchell pastoral (tailor-made) W. J. T. Mitchell, Imperial Landscape in his(ed.) Landscape and PowerThe University of Chicago 37

38 38 Press, 1994, p21 38

39 William Benjamin Mason

41 Alfred East East No Alfred East Studio 41

42 East No

48 Claude Lorraine Gainsborough Thomas Gainsborough No Sam Hunter & John Jacobus, Modern Art: Painting/ Sculpture/ ArchitectureNew York: Harry N. Abrams, 1985 Clement Greenberg Modernist Painting in Francis Frascina & Charles Harrison with the assistance of Deirdre Paul ed. Modern Art and Modernism: A Critical AnthologyNew York: Harper & Row, Publishers, 1982 pp

49 No No

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51 Jacques Louis David Byron

52 Rousseau The Sower Dejeuner sur L herbe

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56 John Ruskin Edmund Burke sublime smoothness 3. William Gilpin roughness 4. Ralph Cohen ed., Studies in Eighteenth-Century British Art and Aesthetics, university of California Press, 1985 Jushua C. Taylor ed., Nineteenth-Century Theories of Art, University of California Press, :

57 No

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63 Mary Louise Pratt Imperial Eyes: Travel Writing and Transculturation, New York: Routledge,

64 Homi K. Bhabha, Articulating the Archaic: Notes on Colonial Nonsense. Eds. Peter and Hilga Geyer-Tyan. Literary Theory Today. (Ithaca: Cormell Up, 1990), pp ( )

69 69 69

70 East

71 Fontanesi Fontanesi Fontanesi Fontanesi Fontanesi Antonio Fontanesi Fontanesi

72 72 Alfred East East East East East East East East East

73 East (

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81 ISHIKAWAKIN

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85 imperialism 300 W.J.T. Mitchell, Imperial Landscape, in W.J.T. Mitchell ed., Landscape and power, The University of Chicago Press,1994.p Sunday painting The Oxford Companion to Art 85

86 86 Mitchell 302 Mitchell illuminate 303 Mitchell Mitchell 1. Landscape is not a genre of art but a medium. 2. Landscape is a medium of exchange between the human and the natural, the self and the other. As such, It is like money: good for nothing in itself, but expressive of a potentially limitless reserve of value. 3. Like money, landscape is a social hieroglyph that conceals the actual basis of its value. It does so by naturalizing its conventions and conventionalizing its nature. 4. Landscape is a natural scene mediated by culture. It is both a represented and presented space, both a signifier and a signified, both a frame and what a frame contains, both a real place and its simulacrum, both a package and the commodity inside the package. 5. Landscape is a medium found in all cultures. 6. Landscape is a particular historical formation associated with European imperialism. 7. Theses 5 and 6 do not contradict one another. 8. Landscape is an exhausted medium, no longer viable as a mode of artistic expression. Like life, landscape is boring; we must not say so. 9. The Landscape referred to in Thesis 8 is the same as that of Thesis 6., Imperial Landscape, p Walter Benjamin, Illuminations(New York: Schocken Books, 1968). 304 landscape and Power Mitchell 86

87 87 Ernst H. Gombrich Kenneth Clark spiritual activity 305 Mitchell (Francesco Petrarch, ) (fears the landscape as a secular, sensuous temptation) (John Milton, ) (as the voyeuristic object for a gaze that wavers between aesthetic delight and malicious intent) 306 Mitchell Mitchell Mitchell (John Ruskin, ) (Edmund Burke) sublime smoothness (William Gilpin) (picturesque) roughness John Constable, (formulaic) (conventional) (stylized) (re-present) (scopophilia) voyeurism (to see without being seen) code 308 Jay Appleton 309 (formulaic) (conventional) (stylized) (imperial eyes) 310 prospect 305 Kenneth Clark, Landscape into Art (1st published 1949; repr., Boston, MA: Beacon Press, 1963),viii, Mitchell, Ibid., pp Mitchell, Ibid., p Ralph Cohen ed., Studies in Eighteenth-Century British Art and Aesthetics, University of California Press, 1985; Jushua C. Taylor ed., Nineteenth-Century Theories of Art, University of California Press, Mitchell, Landscape and Power, p Jay Appleton, The Experience of Landscape (London, 1975), Mitchell, Ibid., p Mary Louise Pratt Imperial Eyes: Travel Writing and Transculturation, New York: Routledge,

88 88 (William Blake, ) a green & pleasant land an emblem of national and imperial identity (a state of nature) 311 Mitchell the gaze (Discipline and Punish) The Panopticon is a machine for dissociating the see/being seen dyad: in the peripheric ring, one is totally seen, without ever seeing; in the central tower, one sees everything without ever being seen. It is an important mechanism, for it automatizes and disindividualizes power. Power has its principle not so much in a person as in a certain concerted distribution of bodies, surfaces, lights, gazes; in an arrangement whose internal mechanisms produce the relation in which individuals are caught up.a real subjection is born mechanically form a fictitious relatio n. 312 Mary Louise Pratt Both are authorized by the global project of natural history: one produces land as landscape and territory, scanning for prospects; the other produces the indigenous inhabitants as bodyscapes, scanned also for prospects Mitchell, Landscape and Power, p Michel Foucault, Discipline and Punish: The Birth of the Prison, translated by Alan Sheridan, New York: Pantheon Books, 1977, pp Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation, p

89 89 Mary Louise Pratt James Turner landscape description as composite to express the character of a region, or a general idea of the good land. 314 Pratt The initial ethnographic gesture is the one that homogenizes the people to be subjected, that is, produced as subjects, into a collective they, which distills down even further into an iconic he (=the standard adult male specimen ) 315 Mithell

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112 (art of government) no.42( ) Michel Foucault, Governmentality, in The Essential Works 3, p

113 (local color) W. J. T. Mitchell Imperial Landscape Landscape and Power, pp

114 114 Mitchell Pratt Subject and Power 401 This form of power applies itself to immediate everyday life which categorizes the individual, marks him by his own individuality, attaches him to his own identity, imposes a law of truth on him which he must recognize and which others have to recognize in him. It is a form of power which makes individuals subjects. There are two meanings of the word subject : subject to someone else by control and dependence; and tied to his own identity by a conscience or self-knowledge. Both meanings suggest a form of power which subjugates and makes subject to. 402 Perhaps the equivocal nature of the term conduct is one of the best aids for coming to terms Michel Foucault, The Subject and Power, in The Essential Works 3,pp also in Brian Wallis ed. Art After Modernism: Rethinking Representation, New York: The New Museum of Contemporary Art, 1984, pp Ibid.,p

115 115 with the specificity of power relations. To conduct is at the same time to lead others (according to mechanisms of coercion that are, to varying degrees, strict) and a way of behaving within a more or less open field of possibilities. The exercise of power is a conduct of conducts and a management of possibilities. 403 Maybe the target nowadays is not to discover what we are but to refuse what we are Mitchell Like imperialism itself, landscape is an object of nostalgia in a postcolonial and postmodern era, reflecting a time when metropolitan cultures could imagine their destiny in an unbounded prospect of endless appropriation and conquest. state nationalism Benedict Anderson limited 407 Taiwan-ness 403 Michel Foucault, The Subject and Power, p Michel Foucault, The Subject and Power, p ( ) Benedict Anderson, Imagined 115

116 collective consciousness Communities: Reflections on the Origin and Spread of Nationalism, ( ) ( ) ( )

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118 118 Mimicry reveals something in so far as it is distinct from what might be called an itself that is behind. The effect of mimicry is camouflage, in the strictly technical sense. It is not a question of harmonizing with the background but, against a mottled background, of becoming mottled-exactly like the technique of camouflage practised in human warfare. 412 Jacques Lacan neither the one nor the other 412 Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis(W. W. Norton & Company,1973), Jacques-Alain Miller ed., Alan Sheridan Trans., p O O O Homi K. Bhabha, The Location of Culture(Routledge, 1994), p

119 Lacan

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126 no.42( ) ( ) O O

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128 No No No No No No No.7( ) No.11(1993 ) No

129 No Bhabha, Homi K. Articulating the Archaic: Notes on Colonial Nonsense. Eds. Peter and Hilga Geyer-Tyan. Literary Theory Today. (Ithaca: Cormell Up, 1990), pp Foucault, Michel, The Subject and Power, in The Essential Works 3,pp also in Brian Wallis ed. Art After Modernism: Rethinking Representation, New York: The New Museum of Contemporary Art, 1984, pp Greenberg, Clement, Modernist Painting, in Francis Frascina & Charles Harrison with the assistance of Deirdre Paul ed. Modern Art and Modernism: A Critical Anthology, New York: Harper & Row, Publishers, 1982pp Habermas, Jürgen, Modernity versus Postmodernity, New German Critique, 22, 1981, p

130 Keith Jenkins Re-thinking History1996 Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism, ( 2)

131 131 I , Ashcroft, B., Griffiths, G. and Tiffin, H., Key Concepts in Post-colonial Studies, London: Routledge, Benjamin, Walter, Illuminations, New York: Schocken Books, Bhabha, Homi K., The Location of Culture, London: Routledge, Clark, Kenneth, Landscape into Art, 1st published 1949; repr., Boston, MA: Beacon Press, Cohen, Ralph, ed., Studies in Eighteenth-Century British Art and Aesthetics, university of California Press, Foucault, Michel, Discipline and Punish: The Birth of the Prison, translated by Alan Sheridan, New York: Pantheon Books, Hunter, Sam & Jacobus, John,Modern Art: Painting/ Sculpture/ Architecture,New York: Harry N. Abrams, Lacan, Jacques, The Four Fundamental Concepts of Psycho-Analysis, Jacques-Alain Miller ed., Alan Sheridan Trans.W. W. Norton & Company,1973,. Mitchell, W. J. T.,(ed.), Landscape and Power, The University of Chicago Press, Pratt, Mary Louise, Imperial Eyes: Travel Writing and Transculturation, New York: Routledge, Taylor, Jushua C., ed., Nineteenth-Century Theories of Art, University of California Press, Said, Eward W., Culture and Imperialism, New York: Alfred A. Knopf,

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從後殖民觀點看施明正小說的敘事特色

從後殖民觀點看施明正小說的敘事特色 1 從後殖民觀點看施明正小說的敘事特色李曉茹摘要施明正小說最為人所知的是喝尿者與渴死者, 然而他的其他篇小說卻常常被忽略 ; 另外, 鍾肇政稱施明正的小說為雷射體, 但對於這種枝枝葉葉的敘事特色, 目前未有更深入的分析本