中文部份
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云雪梅,2004,《何香凝》,石家庄:河北教育出版社。
毛澤東,1942,〈在延安文藝座談會上的講話〉,《毛澤東文藝論集》,北京:中央文獻出版社,頁56-60。
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王一川,1998,《中國形象詩學》,上海:上海三聯書店。
王宇,2006,《性別表述與現代認同:索解20世紀後半葉中國的敘事文本》,上海:上海三聯書店。
王林,1991,〈我們從哪裡來?我們是誰?我們往哪裡去?〉,《藝術廣角》,3期。
王若水,1980年9月25日,〈文藝與人的異化問題〉,《文匯報》。
王德威,1998,《如何現代?怎樣文學》,臺北:麥田。
王德威,1998,《想像中國的方式》,北京:三聯書店。
王德威,2004,《歷史與怪獸:歷史、暴力、敘事》,臺北:麥田。
史書美,2004,〈邁向跨國倫理--「中國」女性「何時」變成女性主義者〉,《中外文學》,33卷2期,頁15-45。
史書美著,何怡譯,2007,《現代的誘惑:書寫半殖民地中國的現代主義(1917-1937)》,南京:江蘇人民出版社。
皮道堅、魯虹學術主持,2003,《藝術新視界 — 26位著名批評家談中國當代美術的走勢》,長沙:湖南美術出版社。
列寧,1995(1905),〈怎麼辦?── 我們運動中的迫切問題〉,《列寧選集第一卷》,北京:人民出版社,頁290-458。
朱大可、張閎主編,2006,《21世紀中國文化地圖:2006》,長春:吉林出版集團。
朱其,2001,〈漂亮的和受傷的︰九十年代後期的中國當代藝術〉,《典藏今藝術》,101期,頁38-39。
朱其,2003,〈20世紀90年代藝術還純粹嗎:關於社會轉型、人文生態和純藝術〉,高氏兄弟編著,《藝術生態報告》,長沙:湖南美術出版社,頁23-30。
朱其,2003,《1990以來的中國先鋒攝影》,長沙:湖南美術出版社。
朱其,2003,《新藝術史與視覺敘事》,長沙:湖南美術出版社。
朱其,2005,《語言的閣樓—女性前衛藝術的八個案例》,北京:3/4畫廊。
朱昱等,2003,〈犀銳思想論壇:藝術與暴力〉,《犀銳》,2期,頁58-72。
朱發東,2000,〈藝術成為生存狀態〉(未發表文章)。
朱葉青,2005,《那年那天》,北京:北京三聯書店。
老舍,1979,〈北京〉,《我熱愛的新北京》文集,北京出版社。
艾未未等著,2002,《中國當代藝術訪談錄》,香港:Timezone 8 Ltd.
艾青,1938年1月13日,〈略談中國的木刻〉,《新華日報》。
何多苓,1988,《「何多苓展」畫冊》,日本福岡:福岡縣立美術館。
何香凝美術館,2002,《圖像就是力量:王廣義、張曉剛和方力鈞的藝術》,長沙:湖南美術出版社。
吳文光,2005,〈訪問徐偉志〉,《現場3》,桂林:廣西師範大學出版社,頁151-210。
吳文光主編,2005,《現場3》,桂林:廣西師範大學出版社。
吳秀瑾,2002,〈傅科和布爾迪厄身體觀之比較〉,中華民國文化研究學會2002年會:〈重訪東亞:全球• 區域•國家•公民〉。
呂品田,1999,《漫遊的存在:新生代藝術》,吉林:吉林美術。
呂澎,2000,《中國當代藝術史:1990-1999》,長沙:湖南美術出版社。
呂澎,2006,《20世紀中國藝術史》,北京:北京大學出版社。
呂澎、易丹,1992,《中國現代藝術史1979-1989》,長沙:湖南美術出版社。
呂頻,2004年5月13日,〈四月:浮世中的傳媒角色〉,中國婦女報,三版。
宋永毅、孫大進,1997,《文化大革命和它的異端思潮》,香港:田園書屋。巫鴻,2005,《作品與展場 — 巫鴻論中國當代藝術》,廣州:嶺南美術出版社。
李九菊、黃文亞編著,2005,《798藝術區實錄》,北京:文化藝術出版社。
李小山、李樹聲主編,2000,《寒凝大地:1930-1949囯統區木刻版畫集》,長沙:湖南美術出版社。
李小山、鄒躍進主編,1998,《明朗的天:1937-1949解放區木刻版畫集》,長沙:湖南美術出版社。
李小江,2000,〈前言:誰能告訴我,什麼是FEMINISM〉,《女性?主義?──文化衝突與身份認同》。
李小江,2002,〈導言:從Gender(性別)在譯介中的歧義性談起〉,《文化、教育與性別:本土經驗與學科建設》,南京:江蘇人民出版社,頁1-12。
李小江主編,2002,《文學、藝術與性別》,南京:江蘇人民出版社。
李小江編,1997,《婦女研究運動:中國個案》,香港:牛津大學出版社。
李允經,2001,《中國現代版畫史》,太原:山西人民出版社。
李何林編,1932,《中國文藝論戰》,上海:東亞書局。
李勇,2004,《千萬別當藝術家》,太原:山西人民出版社。
李歐梵,1996,《現代性的追求:李歐梵文化評論精選集》,臺北:麥田。
李歐梵,2000,《中國現代文學與現代性十講》,上海:復旦大學。
李歐梵,2001,《上海摩登 ── 一種新都市文化在中國1930-1945》,北京:北京大學出版社。
杜芳琴,2002,《婦女學和婦女史的本土探索──社會性別視角和跨學科視野》,天津:天津人民出版社。
沈太慧等編,1983,《文藝論爭1979-1983》,河南:黃河文藝出版社。
沈從文,1949,《從文家書》,上海:遠東(1996)。
汪暉,2008,《反抗絕望:魯迅及其文學世界》(增訂版),北京:三聯書店。
汪暉,2008,《去政治化的政治:短20世紀的終結與90年代》,北京:三聯書店。
阮榮春、胡光華,1997,《中國近代美術史》,臺北:臺灣商務。
忻海洲,1990,日記(未發表)。
典藏藝術家庭編輯部,2008,《2008華人現代與當代藝術拍賣大典》,臺北:典藏藝術家庭出版社。
周雪光、Nancy Barndon Tuma與Phyllis Moen,〈國家社會主義制度下社會階層的動態分析──1949至1993年的中國城市狀況〉,邊燕杰編,2002,《市場轉型與社會分層 ── 美國社會學者分析中國》,北京:三聯書店,頁379-426。
周愛民,〈「馬蒂斯之爭」與延安木刻的現代性〉,唐小兵編,2007,《再解讀大眾文藝與意識形態(增訂版)》,北京:北京大學出版社,頁70-85。
周慧玲,2004,《表演中國:女明星,表演文化,視覺政治,1910-1945》,臺北:麥田。
周蕾,1995,〈男性自戀與國家民族文化 — 陳凱歌孩子王中的主體性〉,《文化批評與華語電影》,臺北:麥田。
周蕾,1995,《寫在家國之外》,香港:牛津大學出版社。
周蕾,2003,〈男性自戀與國家民族文化 — 陳凱歌《孩子王》中的主體性〉,鄭樹森編,《文化批評與華語電影》,桂林:廣西師範大學出版社,頁60-90。
孟繁華,2003,《眾神狂歡:世紀之交的中國文化現象》,北京:中央編譯出版社。
尚明軒、李志奇,2007,《歷史大相冊:何香凝》,北京:中共黨史出版社。
易英,2004,《從英雄頌歌到平凡世界:中國現代美術思潮》,北京:中國人民大學出版社。
林惺嶽,2002,《中國油畫百年史》,臺北:藝術家出版社。
邵建武、伊鴻祝,1989年2月21日,〈中國現代藝術展在京引起爭議〉,人民日報,第四版。
邵養德,1981,〈創作‧欣賞‧評論 ── 讀「父親」並與有關評論者商榷〉,《美術》,9期,頁56-59。
柯惠鈴,2004,《性別與政治:近代中國革命運動中的婦女(1900s-1920s)》,國立政治大學歷史研究所博士論文。查劍英,2006,《八十年代訪談錄》,香港:牛津大學出版社。
洪長泰,1993,《新文化史與中國政治》,臺北:一方。
洪凌,2006,〈幻異之城.宇宙之眼.魍魎生體:分析數部臺灣科幻小說的幻象地景與異端肉身〉,《中外文學》,411期,頁49-78。秋山洋子與加納實紀代編,《戰爭與性別:日本視角》,北京:社會科學文獻出版社。
胡風,1954,〈關於解放以來的文藝實踐情況的報告〉,《胡風評論集》,北京:人民,頁38-39。
唐昕,2005,《花家地1979-2004: 中國當代藝術發展親歷者談話錄》,北京:中國英才出版有限公司。
孫津,1999,《波普藝術:斷層與綿延》,吉林:吉林美術出版社。
徐虹,2003,《女性:美術之思》,南京:江蘇人民出版社。
徐虹,2005,〈女性美術在中國〉,《藝術評論》,21期,頁30-33。
栗憲廷,〈兩聲槍響:新潮美術的謝幕禮〉,《重要的不是藝術》,南京:江蘇美術,頁244-255。
栗憲廷,2000,「方力鈞、劉燁油畫展」目錄文字。
栗憲廷,2006,〈「槍擊事件」的訪談錄與再解讀〉,《今日美術》,1期,頁42-63。
栗憲庭,2000,《重要的不是藝術》,南京:江蘇美術。
栗憲庭,2006,〈栗憲庭:經手編發油畫「父親」〉,《中國藝術批評網》,http://www.zgyspp.com。
祝斌、楊建斌,2002,《藝術展覽二十年》,長沙:湖南美術出版社。
馬馳,2006,《艱難的革命:馬克思主義美學在中國》,北京:首督師範大學出版社。
高世兄弟編,2003,《藝術生態報告》,「中國當代藝術傾向叢書(十四)」,長沙:湖南美術出版社。
高名潞,2001,《世紀烏托邦:大陸前衛藝術》,臺北:藝術家出版社。
高名潞,2003,〈論毛澤東的大眾藝術模式〉,《文革美術》,http://hk.cl2000.com/?/history/wenge/articles/research/02.shtml。高名潞,2005,《另類方法‧另類現代:中國當代藝術中的本土文化因素及其現代性轉化》,上海:上海書畫出版社。
高名潞,2005,《牆:中國當代藝術的歷史與邊界》,北京:中華世紀壇藝術館。
高名潞,2006,〈整一性:中國現代性的邏輯〉,宋曉霞編,《「自覺與中國的現代性」》,香港:牛津大學出版社,頁325-346。
高名潞等,1991,《中國當代美術史 1985-1986》,上海:上海人民出版社,頁610。
高名潞與陳秋林的對話,出自:http://arts.tom.com,2004年03月24日專 稿。
康有為著,湯志鈞編,1981,《康有為政論集》,北京:中華書店。
張正霖,2003,〈中國大陸當代藝術中的身體意象及其政治(1989-2000)〉,《博物館學季刊》,17卷4期 ,頁47-66。張正霖,2003,〈再現後社會主義中國:中國當代藝術中的身體意象、集體意識及其政治 — 以波普、新生代繪畫與觀念藝術為討論對象〉,文化研究學會2003年年會。
張洹,1999,〈和張洹談「身體」:余小蕙紐約專訪〉,《藝術新聞雜誌》,20期。
張英進著,秦立彥譯,2007,《中國現代文學與電影中的城市:空間、時間與性別構形》,南京:江蘇人民出版社。
張值,2004,《藝術前沿 — 中國當代藝術家訪談錄》,青島:中國海洋大學出版社,2004。
張新穎,2001,《20世紀上半期中國文學的現代意識》,北京:三聯。
張曉剛,1991,〈我們從哪裡來?我們是誰?我們往哪裡去?〉,《藝術廣角》,3期。
梁啟超,1989,〈變法通議:論女學〉,《飲冰室文集之一》,北京:中華書店。
梁啟超,1999,〈戒纏足會敘〉,張品興編,《梁啟超全集》第一冊第一卷,北京:北京出版,頁80。
許慧琦,2003,《「娜拉」在中國:新女性形象的塑造及其演變(1900s-1930s)》,臺北:國立政治大學歷史學系。許曉煜,1999,《談話即道路 — 對二十一位中國藝術家的採訪》,長沙:湖南美術出版社,1999。
郭冰茹,2007,《「革命敘事」與現代性──中國大陸「十七年文學」研究(1949-1966)》,臺北:文史哲出版社。
陳丹青,2005,《退步集》,桂林:廣西師範大學出版社。
陳建華,2002,《革命的現代性:中國革命話語考論》,上海:上海古籍。
陳順馨,2007,《中國當代文學的敘事與性別》,北京:北京大學出版社。
陳瑞林,2004,〈二十世紀中國美術的「西化」、「反西化」潮流 與廣東畫壇新舊之爭〉,《二十一世紀》網絡版,24期。
陳瑞林,2006,《20世紀中國美術教育歷史研究》,北京:清華大學出版社。
陳履生,2002,《以「藝術」的名義》,北京:人民美術出版社。
陳慶慶,2001,《慶慶1996-2000》,北京:世界華人藝術出版社。
章潤娟,2008,〈女人的錯誤?男人的錯誤 ── 由蕭魯「對話」及署名權爭論引發的思考〉,《立場》2,頁102-117。
淩志軍,2003,《變化:六四至今的中國社會大脈動》,臺北:時報。
喬素玲,2005,《教育與女性 ── 近代中國女子教育與知識女性覺醒(1840-1921)》,天津:天津古籍出版社。
彭小妍,2005,〈從婦女、女性、女人到陰性書寫:中國女性主義的發展〉,《近代中國婦女史研究》,13期,頁305-314。程亞麗,2007,《從晚清到五四:女性身體的現代想像、建構和敘事》,山東師範大學博士論文。
舒可文,《相信藝術還是相信藝術家》,中國人民出版社,2003。
舒可文,2003,《相信藝術還是相信藝術家》,北京:中國人民出版社。
賀萬里,2003,《永遠的前衛:中國現代藝術的反思與批判》,鄭州:鄭州大學出版社。
黃金麟,2000,《歷史、身體、國家:近代中國的身體形成1895-1937》,臺北:聯經。
黃華,2005,《權力,身體與自我:福柯與女性主義文學批評》,北京:北京大學出版社。
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