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系統識別號 U0026-0812200911373488
論文名稱(中文) 漢斯.貝墨之人偶攝影研究
論文名稱(英文) A Study of Hans Bellmer’s Doll Photography
校院名稱 成功大學
系所名稱(中) 藝術研究所
系所名稱(英) Institute of Art Studies
學年度 93
學期 2
出版年 94
研究生(中文) 黃鉦傑
研究生(英文) Jeng-Jei Huang
電子信箱 dddidar@hotmail.com
學號 K4691107
學位類別 碩士
語文別 中文
論文頁數 111頁
口試委員 指導教授-劉瑞琪
口試委員-劉紀蕙
口試委員-林明澤
中文關鍵字 拜物  不定形  喬治.巴岱耶  《眼睛的故事》  性謀殺  納粹  人偶  超現實主義  漢斯.貝墨  偷窺癖  戀童癖  虐待狂  閹割恐懼  賤斥  《沙人》  重複強制  詭異  創傷 
英文關鍵字 Surrealism  dolls  Hans Bellmer  Nazi  Sexual Murder  Giorge Bataille  informe  Story of the Eye  fetish  abject  The Sandman  repetition compulsion  trauma  uncanny  voyeurism  pedophilia  sadism  castration anxiety 
學科別分類
中文摘要   本篇論文主要探討德國藝術家漢斯.貝墨(Hans Bellmer, 1902-75)於三○年代以人偶為主題的超現實主義攝影。貝墨於1933年開始創作人偶,此後陸續以自製的娃娃為拍攝對象發表攝影作品。貝墨的人偶攝影匯聚著情慾、暴力與詭異的影像特質,在當今藝術史研究強調性取向與性別差異的潮流中,其作品中所隱現的情慾亦成為學界熱衷討論的話題。對於人偶攝影中解體的、毀形的娃娃,女性主義藝評經常從厭女(misogyny)的角度,批評男性藝術家在圖像中對女性的壓迫與宰置。筆者認為,女性主義藝評的觀點雖極具啟發性,卻侷限於意識形態的批判,而缺乏對創作者的慾望結構與主體位置作進一步的探討。本文的新意,除了從歷史與社會的角度詮釋貝墨再現毀形娃娃的成因之外,更嘗試結合拜物(fetishism)、創傷(trauma)與賤斥(abject)等精神分析理論,分析創作者對娃娃既慾望又恐懼的矛盾心態,並重新探索貝墨於人偶圖像中所交涉的主體位置。另一方面,亦有學者試圖從歷史脈絡的角度,探討貝墨的作品具有顛覆納粹身體觀的意識形態。筆者則另闢蹊徑,以符號學的解讀方式,突顯娃娃消解二元對立的特性,並進一步揭露作品中所隱含的政治意識。本文要強調的是,人偶攝影中的情色符碼猶如硬幣的一體兩面,它既隱含著踰越納粹的特質,同時也承載著創作者複雜的情慾投射。透過這樣的詮釋架構,不僅能有效地解決既有的研究在論點上褒貶不一的矛盾現象,亦能更全面地概括人偶攝影豐富多元的面貌。
英文摘要   This thesis focuses on German surrealist Hans Bellmer’s doll photography. During the 1930’s, Bellmer constructed and photographed adolescent girl-dolls. Naiveté and alluring, but also tormented and possibly sexually violated, Bellmer’s dolls remain disturbing and controversial today because of their misogynistic effects. A number of feminist commentators have accused Bellmer of endlessly staging scenes of rape, sadism and violence on the bodies of women. In my point of view, the hostility and aggression in the doll photography are deniable, but I would argue that Bellmer’s work should not be dismissed as only and ever a means to dominate and colonize female subjectivity.

  Bellmer’s work comprises a summary of the surrealism delineated such as: uncanny effects, compulsive repetitions of traumatic scenes, and oscillation between castrative and fetishistic forms. In this thesis, I will draw on psychoanalytic theory to explain complicated projections of male desire and anxiety in the doll photography. Further, it will be emphasized that Bellmer appears not only as master of the dolls (female bodies) sadistically, but also is haunted by the returns of traumas that are summoned by them. On the other hand, considering Bellmer’s doll photography in the context of Weimar Germany, I will discuss the anti-Nazi meaning of the dolls, and analyze the ambivalent conjunctions of sexual fantasy and avant-gardist transgression represented in the photography. With this thesis, I will consider the doll photography in relation to issues of gender, sexuality, and transgression, and to see different apprehensions of desire, love and hatred in Bellmer’s art.
論文目次 圖版目錄………i
緒論………1

第一章 漢斯.貝墨踰越父權與納粹統治的人偶圖像………13
  第一節 對父親與納粹的不滿與反抗………13
  第二節 不定形與情色主義的反抗路徑………24

第二章 承載漢斯.貝墨情慾幻想的人偶圖像………38
  第一節 戀童與拜物的情慾交融………39
  第二節 視淫與虐待慾望的隱現………48

第三章 反映漢斯.貝墨閹割與死亡恐懼的人偶圖像………60
  第一節 人偶攝影的詭異美學………60
  第二節 映照貝墨對母體既迎且拒的人偶圖像………73

結論………82
參考文獻………86
附圖………93
參考文獻 一、書籍
(一)中文
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(二)英文
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_____, “Fetishism,” in The Standard Edition of the Complete Psychological Work of Sigmund Frued, vol. 21 (London: Hogarth Press, 1995), pp. 149-57.
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_____, “Dialouge and Double Allegiance: Some Contemporary Women Artists and the Historical Avant-garde,” in Mirror Images: Women, Surrealism, and the Self-Reprsentation, ed. Whitney Chadwick (Cambridge, MA: The MIT Press, 1998), pp. 128-54.
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二、期刊
(一) 中文
王浩昱著,〈歐洲舊「法西斯主義」:政治福音與集體痴狂〉,《東吳政治學報》,第七期,1997,頁105-31。
Laura Mulvey著,張寶元譯,〈視覺快感與敘事電影〉,《電影欣賞》,第42期,1989,頁21-31。
Sigmund Freud著,楊明敏譯,〈美杜莎的頭〉,《中外文學》,第31卷,第7期,2002,頁138-41。
Sigmund Freud著,楊明敏譯,〈戀物癖〉,《中外文學》,第31卷,第7期,2002,頁111-18。
劉瑞琪,〈扮裝、變體與假面:辛蒂.雪曼的詭態諧擬〉,《中外文學》,第32卷,第7期,2003。
吳曉都,〈互涉文本〉,《世界文論》,第6期,1995,頁235。
張小虹,〈看.不見九二一:災難、創傷與視覺消費〉,《中外文學》,第30卷,第8期,2002,頁95-100。
(二)英文
Bau, Rachel, “Bellmer Now,” in Art Journal, 61: 2 (Summer 2002), pp. 103-04.
Bellmer, Hans, “Memory of the Doll Theme,” trans. Peter Chametzky, Susan Felleman and John Schindler, in Sulfur, 26 (Spring 1990), pp. 28-33.
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Foster, Hal, “Obscene, Abect, Traumatic,” in October, 78 (Fall 1996), pp. 107-24.
Fritzsche, Peter, “Specters of History: On Nostalgia, Exile, and Modernity,” in American History Review, 106 (December 2001), pp. 1587-18.
Gubar, Susan, “Representing Pornography: Feminism, Criticism, and Depictions of Female Violation,” in Critical Inquiry, 13 (Summer 1987), pp. 712-41.
Lichtenstein, Therese, “Bellmer’s Dolls: Image of Pleasure, Pain and Perversion,” in Sulfur, 26 (Spring 1990), pp. 54-64
Smith, Marquard, “Just What Is It That Makes Today’ s Hans Bellmer So Different, So Appealing,” in Art History, 26:1 (February 2003), pp. 100-5.
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