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題名:圖像敘事的超美學及其藝術教育意義--從Chris Ware的作品談起
書刊名:國際藝術教育學刊
作者:范銀霞賴雯淑 引用關係
作者(外文):Fan, Yin-hsiaLai, Wen-shu
出版日期:2012
卷期:10:1
頁次:頁98-150
主題關鍵詞:超美學圖像小說圖像敘事藝術教育HyperaestheticsGraphic novelsGraphic narrativesArt education
原始連結:連回原系統網址new window
相關次數:
  • 被引用次數被引用次數:期刊(2) 博士論文(1) 專書(0) 專書論文(0)
  • 排除自我引用排除自我引用:2
  • 共同引用共同引用:211
  • 點閱點閱:89
數位科技改變了資訊的內在本質,也影響藝術創作並產生新的美學內涵O本文以ChrisWare的圖像小說作品一〈吉米﹒科瑞根:地球上最聰明的小子〉 為研究文本,以文本分析為方法,循著當代科技發展脈絡下的數位藝術特質衍生之「超」的特性,以及Lunenfeld(2000)所提出之「超美學」概念為依據, 探討圖像敘事在其影響下所呈現的新美學態勢。根據以上論述,提出「超連結特質展現」、「『超』之創作概念與形式」及「缺縫意義的填充」三個重要的 理論觀點來理解和詮釋圖像小說的各種面向,此研究結果對藝術教育在理論基礎與未來之發展也有所貢獻。
Digital technology not only changes the essence of information, but also influences art and brings new connotations to aesthetics. For its methodology, the study analyzes text from the graphic novel, Jimmy Corrigan; The Smartest Kid on Earth by Chris Ware and draws upon the properties of “hyper “derived from digital art in the context of contemporary technological development. Additionally, Lunenfeld's (2000) concept of “hyperaesthetics” is utilized as the framework to discuss the new aesthetics of graphic narratives influenced by hyperaesthetics. It concludes that "the quality of hyperlink", "the concept and forms of hyper" and "filling up the semantic lacuna" are three important theoretical concepts to understand and interpret graphic narratives. The result of this study can contribute to the basic theory and future development of art education.
期刊論文
1.陳冠君(20070500)。輕與重的美感--科技藝術的審美觀點。美育,157,20-25。  延伸查詢new window
2.張恬君(20021200)。學與思--資訊時代的科技藝術。典藏今藝術,123,74-77。  延伸查詢new window
3.賈霸(2008)。出版風向球--圖像小說,漫畫的藝術電影。書香遠傳,6。  延伸查詢new window
4.游美惠(20000800)。內容分析、文本分析與論述分析在社會研究的運用。調查研究:方法與應用,8,5-42。new window  延伸查詢new window
5.尤美琪(2002)。超文本的歧路花園:後現代千高原上的游牧公民。資訊社會研究,2,1-28。new window  延伸查詢new window
6.Ascott, R.(2004)。Planetary Technoetics: Art, Technology and Consciousness。LEONARDO,73(2),111-116。  new window
7.Bennett, J.、Jackson, C.(2010)。Graphic Whiteness and the Lessons of Chris Ware's Jimmy Corrigan。ImageTexT: Interdisciplinary Comics Studies,5(1)。  new window
8.Christensen, L.(2006)。Graphic Global Conflict: Graphic Novels in the High School Social Studies Classroom。Social Studies,97(6),227-230。  new window
9.Taylor, P. G.(2004)。Hyperaesthetics: Making Sense of Our Technomediated World。Studies in Art Education,45(4),328-342。  new window
10.Bennett, J.、Cassandra, J.(2010)。Graphic Whiteness and the Lessons of Chris Ware's Jimmy Corrigan。ImageTexT: Interdisciplinary Comics Studies,5(1)。  new window
11.Mandelbrojt, J.(1999)。The Aesthetic Status of Technological Art。EONARDO,32(4),301-302。  new window
會議論文
1.Calvi, L.(2001)。Hypertext and comics: towards an aesthetics of hypertext。Arhus, Denmark。14-18。  new window
圖書
1.Berger, John、Mohr, Jean、張世倫(2009)。另一種影像敘事。台北:臉譜。  延伸查詢new window
2.Ortony, A.、Clore, G. L.、Collins, A.(1998)。The cognitive structure of emotions。Cambridge。  new window
3.Simms, Karl(2003)。Paul Ricoeur。London and New York:Routeledge Critical Thinkers。  new window
4.Cabanne, Pierre、張心龍(1986)。杜象訪談錄。臺北:雄獅圖書。  延伸查詢new window
5.Fairclough, N.(1995)。Critical discourse analysis: Papers in the critical study of language。London, England:NY:Longman。  new window
6.Freedman, K.(2003)。Teaching visual culture: Curriculum, aesthetics and the social life of art。New York, NY:Teachers College Press。  new window
7.McCloud, S.(1993)。Understanding comics: the invisible art。Northampton, MA:Kitchen Sink Press:Tundra。  new window
8.艾利克•麥克魯漢、法蘭克•金格隆、汪益(1999)。預知傳播紀事:麥克魯漢讀本。台北:台灣商務。  延伸查詢new window
9.Brunetti, I.(2006)。An Anthology of Graphic Fiction, Cartoons, and True Stories。New Haven, London:Yale University Press。  new window
10.Eisner, Will(1985)。Comics and Sequential Art。Tamarac, FL:Poorhouse Press。  new window
11.Neurath, O.(2010)。From Hieroglyphics to Isotype: A Visual Autobiography。North London, Kentish:Hyphen Press。  new window
12.Tabachnick, S. E.(2009)。Teaching the Graphic Novel。New York, NY:Modern Language Association of America。  new window
13.Wolk, Douglas(2007)。Reading Comics: How Graphic Novels Work and What They Mean。Da Capo Press。  new window
14.Morgan, Alice、陳阿月(2008)。從故事到療癒:敘事治療入門。臺北:心靈工坊文化事業股份有限公司。  延伸查詢new window
15.鄭文惠(20050000)。文學與圖像的文化美學:想像共同體的樂園論述。臺北:里仁。new window  延伸查詢new window
16.Nodelman, Perry、楊茂秀、黃孟嬌、嚴淑女、林玲遠、郭鍠莉(2010)。話圖:兒童圖畫書的敘事藝術。財團法人兒童文化藝術基金會。  延伸查詢new window
17.愛德蒙.柏克.惠特曼、劉美玲、曾于珍、洪麗珠、李文珊、桂雅文、談玉儀(2000)。藝術教育的本質。臺北:五觀藝術管理。  延伸查詢new window
18.陳鼐安、Ware, C.(2009)。吉米‧科瑞根:地球上最聰明的小子。台北市。  延伸查詢new window
19.Lunenfeld, P.(2000)。Snap to Grid: A User's Guide to Digital Arts, Media, and Cultures。Cambridge, MA。  new window
20.Raeburn, D.(2004)。Chris Ware。New Haven CT。  new window
21.Wiater, S.、Stephen, R. B.(1993)。Comic Book Rebels: Conversations with the creators of the new comics。New York。  new window
22.邱誌勇、簡瑞瑱(2007)。論數位藝術的體現美學。2007第一屆數位藝術評論獎論文集。台北。  延伸查詢new window
23.Geertz, C.(1983)。Art as a Cultural System。Local Knowledge: Further Essays in Interpretive Anthropology。New York。  new window
其他
1.李順興(2002)。「死網」:善用數位技術的宣傳品,http://paper.udn.com/udnpaper/PIC0001/30114/web/。  延伸查詢new window
2.郭書瑄(2010)。OFF:漫畫與圖像小說之間,http://magz.roodo.com/article/2663。  延伸查詢new window
3.Nissen, B.(2000)。Jimmy Corrigan: The Smartest Kid on Earth: A not-so-comic Comic Book,http://edition.cnn.com/2000/books/news/10/03/chris.ware/index.html。  new window
4.Strauss, N.(2001)。Chris Ware's graphic tales mine his own life and heart,http://www.nytimes.com/2001/04/04/arts/04WARE.html?pagewanted=2。  new window
5.Twyman, M.(1975)。The Significance of Isotype,http://www.isotyperevisited.org/1975/01/the-significance-of-isotype.html。  new window
 
 
 
 
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