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批判性影像閱讀 Critical Visual Analysis

Page history last edited by Elsa Chen 15 years ago

 

 

科目名稱:批判性影像閱讀研究      □必修   R選修          教師:  陳香   

任課班級:跨藝碩一

每學期開課學分數:上學期  學分     下學期 3 學分

總學分數:  3  學分   每週上課時數:  3  小時     

上課時間:每週三下午130420             教室:  藝術學院5216  

連繫電話:07-71729303034

辦公地點:5216         

辦公時間(Office hour):請事先預約 elsahcchen@gmail.com

 

 

※※請遵守智慧財產權觀念、不得非法影印※※

 

 

一、教學目標:本課程旨在介紹與討論歐美各種閱讀影像與藝術的不同重點與方式。透過閱讀主要文本,配合影像蒐集、分析與研究,培養學生閱讀、思考、分析與撰寫藝術/介入的能力。

 

 

二、教材內容:文獻、影音素材

 

 

三、實施方法:報告、討論與講授(seminars);文獻導讀

 

 

四、評量方式:課前閱讀及課堂參與(20%)、口頭報告與討論參與(15%)、期中報告(25%;3000字;422交)、期末研究報告(40%;5000字;624交)

使用她/他人觀點與文章,必須引注清楚。切勿抄襲。

 

 

五、教學進度及閱讀書目

1.     2/25        Introduction

 

 

        2.     3/4           Formalism and Style 1

Laurie Schneider Adams, The Methodologies of Art: An Introduction, Boulder & Oxford:Westview, 1996, Ch. 2, pp. 16-35. (hereafter MA)

Henrich Wölfflin, Principles of Art History: The Problem of the Development of Style in Later Art, New York: Dover, 1950. 曾雅雲譯,《藝術史的原則》,台北:雄獅美術,1987.

 

得豪、運洲

 

 

3.          3/11        Formalism and Style 2

Roger Fry, ‘An Essay in Aesthetics [1909],’ in Charles Harrison & Paul Wood (eds.), Art in Theory 1900-2000: An Anthology of Changing Ideas, Oxford: Blackwell, new edition, 1992/2003, pp. 75-82. (hereafter AT)

        子雅 

 

4.          3/18         Modernism

Clement Greenberg, ‘Modernist Painting [1960-5],’ in AT, pp. 773-779.

Theodor Adorno, ‘from “Commitment”[1962],’ in AT, pp. 779-783.

        漢正  

 

5.          3/25        Iconography 1

MA, Ch. 3, pp. 36-57.

陳懷恩,《圖像學:視覺藝術的意義與解釋》,台北:如果,2008.

        運洲

 

6.          4/1           Iconography 2

Erwin Panofsky, ‘Iconography and Iconology: An introduction to the Study of Renaissance Art,’ in Erwin Panofsky, Meaning in the Visual Arts, Chicago: The University of Chicago Press, phoenix edition, 1952/1985, pp. 26-54. 1955年版本,另有李元春譯,《造形藝術的意義》,1997

        方琪_圖像研究與圖像學.doc

 

7.          4/8           Iconography 3

Ernst Gombrich, ‘Introduction: Aims and Limits of Iconology,’ in Ernst Gombrich, Symbolic Images: Studies in the Art of the Renaissance, London: Phaidon, 1972, pp. 1-22.

        柏仁  

 

8.          4/15        Marxism

MA, Ch. 4, pp. 58-78.

T.J. Clark, The Painting of Modern Life: Paris in the Art of Manet and his Followers, London: Thames and Hudson, 1999.

        鴨鴨MA馬克思主義.doc

 

9.          4/22         Midterm Revision (Midterm Paper Due)

 

 

10.      4/29         Biography and Autobiography

MA, Ch. 6, pp. 101-132.

        昭權

        期中報告討論

       冠彰討論顧世勇個展.ppt

        台北伊通公園顧世勇展覽「美哉台灣」(2009)http://www.itpark.com.tw/exhibition/data/261 

 

11.      5/6          Feminism 1

MA, Ch. 5, pp. 79-100.

馨尹、佩怡、文文

 

12.      5/13         Feminism 2

Griselda Pollock, Vision and Difference: Feminism, Femininity, and the Histories of Art, London: Routledge, 1988. 陳香君譯,《視線與差異》,台北:遠流,2000。第一章、第三章。

        燕美  

 

13.      5/20         Semiotics: Structuralism and Poststructuralism

MA, Ch. 7, pp. 133-161.

        秀民

        王秀民_從結構主義到後結構主義.doc

        秀民_從結構主義到後結構主義.ppt

 

14.      5/27         Semiotics: Roland Barthes

Roland Barthes, La Chambre Claire: Note sur la Photographie, 1980 許綺玲譯,《明室:攝影札記》,台北:台灣攝影工作室,1995.

冠彰、怡志

        冠彰_報告版明室攝影札記.ppt

        怡志_論攝影.doc

 

15.      6/3           Psychoanalysis 1

MA, Ch. 9, pp. 179-199.

        文文、佩怡

 

16.      6/10         Psychoanalysis 2

Sigmund Freud, ‘On Dreams [1901],’ in AT, pp. 21-28.

        文文、佩怡'

 

17.      6/17        Psychoanalysis 3

Sigmund Freud, ‘Mourning and Melancholia [1917/15]’, in Metapsychology: the Theory of Psychoanalysis, The Penguin Freud Library, vol. 11, London: Penguin, 1991, pp. 245-268.

Sigmund Freud, ‘Beyond the Pleasure Principle [1920]’, in Metapsychology: the Theory of Psychoanalysis, The Penguin Freud Library, vol. 11, London: Penguin, 1991, pp. 269-338.

        宜君

 

18.      6/24         End of Term DiscussionFinal Paper Due

 

 

六、參考書目

Laurie Schneider Adams, The Methodologies of Art: An Introduction, Boulder & Oxford:                  Westview, 1996.

Charles Harrison & Paul Wood (eds.), Art in Theory 1900-2000: An Anthology of Changing Ideas, Oxford: Blackwell, new edition, 1992/2003.

Erwin Panofsky, ‘Iconography and Iconology: An introduction to the Study of Renaissance Art,’ in Erwin Panofsky, Meaning in the Visual Arts, Chicago: The University of Chicago Press, phoenix edition, 1952/1985. 1955年版本,另有李元春譯,《造形藝術的意義》,1997

Ernst Gombrich, Symbolic Images: Studies in the Art of the Renaissance, London: Phaidon, 1972.

Griselda Pollock, Vision and Difference: Feminism, Femininity, and the Histories of Art, London: Routledge, 1988. 陳香君譯,《視線與差異》,台北:遠流,2000

Roland Barthes, La Chambre Claire: Note sur la Photographie, 1980許綺玲譯,《明室:攝影札記》,台北:台灣攝影工作室,1995.

Sigmund Freud, Metapsychology: the Theory of Psychoanalysis, The Penguin Freud Library, vol. 11, London: Penguin, 1991.

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