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題名:法國大革命時代的藝術作品對人文教育的啟示--以〈馬拉之死〉與〈1808年五月三日〉為例
書刊名:課程與教學
作者:謝攸青 引用關係
作者(外文):Hsieh, Yu-ching
出版日期:2011
卷期:14:3
頁次:頁181-197
主題關鍵詞:新古典主義浪漫主義人文教育理性感性Neo-classicismRomanticismHumanities educationReasonSensibility
原始連結:連回原系統網址new window
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本文將針對法國大革命時代,兩位藝術家的兩件繪畫作品--大衛的<馬拉之死>與哥雅的<1808 年五月三日>,進行比較與詮釋,分析其作品在理性與感性思維上的啟示性意義,並探討這些現象可以啟示我們哪些思維,及在人文教育上有何意義。基於後現代藝術教育的觀點,認為「藝術是文化的產物」,藝術被認為是人類生命過程中參與世界的方式。因此,不同的藝術家的作品,其實反映了不同的生命價值之思維,詮釋藝術品的內涵,將有助於豐富並啟示人文教育的內容。大衛的<馬拉之死>是屬於新古典主義的作品;哥雅的<1808年五月三日>則屬於浪漫主義的作品,兩者雖均與法國大革命時代的民主思潮相關,卻展現了截然不同的價值觀與表現方式:前者描述的是一位革命英雄死亡的記實,表現死者為革命而犧牲,理性而嚴肅地將馬拉死亡的一刻,客觀描述為具有永恆價值的一刻,畫面強調一種追求完滿崇高情操之可貴;後者雖也是根據歷史事件描寫西班牙人民勇於抗爭最後遭屠殺時面對死亡的情境,畫面卻強調一種激烈的衝突情感,反映出人類面對死亡時恐懼、脆弱的天性。本文將從畫作的理性與感性的不同表達,探討這些藝術相關與延伸的藝術哲思性內容,如何在人文教育中應用,了解其人文教育上之啟示性意義。
This paper interprets two artworks from the French Revolution era–"The death of Marat" and "The Third of May, 1808"—to compare their rational and sensuous styles, examine the artist's inspiration, and to link the art content to humanity education curriculum.The essay is based on the concept of post-modern art education, which "art is a product of culture". We'll view artwork as a process in human culture and life, and examine how people participate in that culture. The essay also proposes that understanding the artwork's meaning can enrich the humanities educational curriculum.In the enlightened period, reason and sensibility were two primary contrasting ways of thoughts approaching reality. "The death of Marat" is a work of Neo-classicism, and "The Third of May, 1808" is a work of Romanticism. Neo-classicism and Romanticism are also closely related to the issues of reason and sensibility, respectively.In "The death of Marat", the depiction of Marat feels peaceful, moderate, and sublime. It is about a hero's death and expresses an eternal value of reason, urging people to pursue their own ideal. In contrast, "The Third of May, 1808" shows people who are fragile and fear, while being willing to sacrifice when they face death. The image shows the feeling deep in people's heart and manifests a passionate love of humanity and nature.Through these two works, we understand how these two approaches affect people's thinking and values. Finally, the essay relays the inspiration for these two artworks and the artists' thoughts, to expose potential educational significance, and how we can use their messages.
期刊論文
1.何政廣(1999)。新古典主義旗手--大衛48(3),282-283。  延伸查詢new window
2.唐忠珊(20060200)。歐洲藝壇--從洛可可到新古典主義:法國巴黎賈克瑪.安德烈博物館之大衛展。藝術家,62(2)=369,410-419。  延伸查詢new window
3.陳沁楨(19910300)。現代繪畫前史--新古典主義與浪漫主義(Neo-Classicism. Romanticism 1750-1850)。美育,12,10-23。  延伸查詢new window
4.郭暉妙(20051200)。浪漫主義之先驅--從哥雅的黑色繪畫談起。國立歷史博物館學報,32,25-48。new window  延伸查詢new window
5.潘播(20010900)。法國美術之新古典主義。藝術家,53(3)=316,332-339。  延伸查詢new window
6.Jagodzinski, J.(1991)。A para-critical/sitical/sightical reading of Ralph Smith’s excellence in art education。Journal of Social Theory in Art Education,11,119-59。  new window
7.Ley, R. D.、Jonson, L. E.(1990)。Selecing social goals: alternative concepts of rationality: both the orthodox and the heterodox must be able to explain the origin and significance of values。American Journal of Economics and Sociology,49(4),469-481。  new window
圖書
1.帕拉.拉培利、王娟娟(200111)。哥雅。臺北縣:木馬文化事業有限公司。  延伸查詢new window
2.Gombrich, Ernst Hans、雨芸(1991)。藝術的故事。台北:聯經。  延伸查詢new window
3.Gariff, David、Denker, Eric、Weller, Dennis P.、江凌青、陳美璇(2009)。西洋繪畫史上最具影響力的五十位畫家。台北縣:新一代。  延伸查詢new window
4.Bryan, M.(2001)。The Story of Philosophy。London:Dorlinh Kindersley。  new window
5.黃海鳴(1991)。從浪漫主義到新浪漫。台南市:藝術家。  延伸查詢new window
6.張心龍(1998)。新古典浪漫之旅。台北:雄獅圖書股份有限公司。  延伸查詢new window
7.Jeanine Baticle、廖慧貞(2006)。哥雅:既華麗浪漫又殘酷寫實。台北市:時報文化。  延伸查詢new window
8.Alan Bullock、董樂山(2005)。西方人文主義傳統。台北:究竟。  延伸查詢new window
9.錢中文(2004)。文學新理性精神。台北:洪葉文化。  延伸查詢new window
10.Croix, H. d.、Tansey, R. G.、Gardner.(1980)。Art through the ages。New York:Harcourt, Brace & World, Inc.。  new window
11.Thuillier, J.(2003)。History of art (Deke Dusinberre)。Trans. Spain:JCG。  new window
12.蔡源煌(1990)。從浪漫主義到後現代主義。台北:雅典。  延伸查詢new window
13.Efland, Arthur D.、Freedman, Kerry、Stuhr, Patricia L.(1996)。Postmodern Art Education: An approach to curriculum。National Art Education Association。  new window
14.謝攸青(2006)。後現代藝術教育:理論建構與實例設計。嘉義:濤石文化。  延伸查詢new window
15.蔡錚雲(20010000)。從現象學到後現代。臺北:五南。new window  延伸查詢new window
其他
1.Lewis, H.(1992)。The age of enlightenment The European dream of progress and enlightenment,http://history-world.org/age_of_enlightenment.htm, 2010/11/20。  new window
圖書論文
1.Kesson, K. R.(1999)。Toward a curriculum of mythopoetic meaning。Understanding democratic curriculum leadership。New York, NY:Teachers Coolege, Columbia University。  new window
2.Hazlitt, W.(1987)。Why the arts are not progressive?。Romantic critical essays。Britain:Cambridge University Press。  new window
3.Pearse, H.(1997)。Doing otherwise: art education praxis in a postpadigmatic world。Art education: content and practice in a postmodern era。Reston, VA:The National Art Education Association。  new window
 
 
 
 
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