1 由迷孃〈唯有知道渴望的人〉管窺舒伯特歌曲風格

81 探幽縮圖中所見的中國繪畫──以日本私人藏手卷為例

129 試探日治時期與1970年代鄉土運動的巷弄美學
167 從媒介到建築──楊德昌如何利用多重媒介來呈現《一一》裡的台北

1 The Repeated Settings of “Nur wer die Sehnsucht kennt”: A Study of Schubert's Song Style
Chi-Hsin Yi

81 Chinese Paintings in Tan'yū Shukuzu (Tan'yū's Authentication Sketches)—A Study on a Tan'yū Shukuzu Handscroll in a Japanese Private Collection
Li-Yun Huang

129 Backstreet Scenery in the Japanese Occupation Period and the 1970s Nativist Movement
Kai Sheng

167 From Media to Architecture: How Edward Yang Applies Multiple Media to Depict Taipei
Ling-ching Chiang
The Repeated Settings of “Nur wer die Sehnsucht kennt”: A Study of Schubert's Song Style
/ 易繼心 Chi-Hsin Yi
關鍵字:舒伯特、浪漫風格、歌曲、迷孃、渴望、歌德  Schubert, Romantic, Lied, Song, Mignon, Sehnsucht, Goethe
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〈唯有知道渴望的人〉的創作歷程與迷孃其他歌曲及豎琴手歌曲的創作相關,舒伯特最後將三首迷孃詩歌譜成了連篇歌曲D 877。其中第一首為男女二重唱,第四首為女聲獨唱,均以此詩創作。第一首在曲式及和聲轉調的設計最為突出,而第四首對題材「渴望」作出最佳詮釋。
Franz Schubert was a great admirer of Johann Wolfgang Goethe's poems. His passion was so great that he set Goethe's “Nur wer die Sehnsucht kennt” as many as six times, which was unique for Schubert had never honored any other poets with such dedication. Furthermore, more than ten years separated the 1st(1815) and the last (1825) setting.

This essay will explore Schubert's stylistic innovation, compare his settings to those by his forerunners, Reichardt and Beethoven, and trace his growth into his mature style by analyzing the developments throughout the six settings. Schubertian style will also be proven to be “romantisches Kunstlied” (Romantic Art Song) through examining his operation of text, declamation rhythm, melody, the relationship between singing voice and piano, modulation and harmony, and it will be shown further that each of his settings present a new perspective and broaden the meaning of the poem. In addition, the role of the piano in these settings is increasingly elevated to become of importance equal with the text and the singing voice.

Schubert's settings of “Nur wer die Sehnsucht kennt” were related to the other Mignon's songs and harper's songs. Finally, he set three Mignon's songs as a song cycle D 877, in which both no. 1 (duet) and no. 4 (for soprano) are based on this poem. No. 1 stands out for its musical form, well-planned harmony and modulation. No. 4 gives the best interpretation of “longing.”
Chinese Paintings in Tan'yū Shukuzu (Tan'yū's Authentication Sketches)—A Study on a Tan'yū Shukuzu Handscroll in a Japanese Private Collection
/ 黃立芸 Li-Yun Huang
關鍵字:探幽縮圖、東亞繪畫史、明代繪畫、模寫  Tan'yū shukuzu (Tan'yū's authentication sketches), East Asian painting history, paintings of the Ming Dynasty, copy
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日本江戶時代的畫家狩野探幽(Kano Tanyū, 1602-1674)所繪製的古畫縮小摹本「探幽縮圖」,近年來日漸受到中國、日本、韓國繪畫史研究者的注目。本文便是從東亞繪畫史的觀點出發,嘗試指出日本私人藏《探幽縮圖卷》中所見中國繪畫的特點與重要性。

Tan'yū shukuzu (Tan'yū's authentication sketches), the small sketches of ancient Chinese, Japanese and Korean paintings by the Japanese painter Kano Tan'yū (1602-1674), have caught the attentions of many art historians in recent years. From the standpoint of East Asian painting history, this essay attempts to point out the features and importance of some of the Chinese paintings recognized in a Tan'yū shukuzu handscroll in a Japanese private collection.

The essay begins with a review of the history of research on Tan'yū shukuzu. By focusing on a Tan'yū shukuzu handscroll in a Japanese private collection, I find that Tan'yū did not copy original paintings exactly but emphasized more on the composition and the motifs that interested him. Moreover, most of the Chinese paintings recognized in this handscroll originated in the Jiangsu, Zhejiang and Fujian area during the 15th or 16th Centuries.
Backstreet Scenery in the Japanese Occupation Period and the 1970s Nativist Movement
/ 盛鎧 Kai Sheng
關鍵字:巷弄美學、媌m、日治時期、地方色彩、現代性、鄉土運動  backstreet scenery, Japanese occupation period, local color, modernity, nativist movement
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1970 年代鄉土運動興起後,許多文學作品皆以尋常的庶民生活空間為背景,敘說其間人物的故事,巷弄即為顯例。此時期的鄉土美術,則大致較傾向懷舊式的表現,是以其中的巷弄美學相對較無社會性意涵。從日治時期到1970 年代的鄉土運動,兩者的巷弄美學自有不同的側重表現與演化,當中的差異以及不同年代的視覺文化特質,即為本文探討之重點。此外,亦將論及由鄉土文學代表性作品所改編之電影,其中的空間取景與場面調度所展現之巷弄美學。
Japanese “媌m” (uramachi) refers a street block which is not located along a main road and roughly means “back street”. But “町” (machi) represents a block, not a road or a boulevard, which more or less contains the concept of community. Thus uramachi usually connotes a quiet residential area. During the Japanese occupation period there were many art works with the title of “媌m” or “堻q” (uradōri, meaning avenue or alley) which portrayed such back streets and people's usual ways of life during the Japanese occupation period. In addition, scenes of winding alleys in old Taiwanese cities were also very common in the paintings at that time. All these scenes were considered
representative of the unique culture of Taiwan.

During the 1970s, many nativist literary works described the living spaces of ordinary people and the backstreet communities in the metropolitan areas. The nativist artists of this period were generally inclined to be nostalgic, rather than focused on current social issues. From the Japanese occupation period to the nativist movement in 1970s, the sceneries of backstreets in Taiwan certainly featured different types of representation and cultural implications. This research will explore these differences not only in the visual arts but also make comparative references to similar scene descriptions in literature and movies of the same periods.
From Media to Architecture: How Edward Yang Applies Multiple Media to Depict Taipei
/ 江凌青 Ling-ching Chiang
關鍵字:楊德昌、《一一》、媒介研究、新媒體、寫實主義、造型性  Edward Yang, Yi-yi (A One and a Two), media studies, new media, realism, plasticity
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This essay aims to apply two aesthetic principles posited by Andre Bazin, “faith in the image” and “faith in the reality,” in order to ponder how Edward Yang constructs a specifically cinematic paradigm of representing the city. The “faith in the image” principle will be analyzed in depth from the perspective of media studies in order to show how Yan makes use of this aesthetic strategy to approach the ideal of “faith in reality.” On the one hand, Edward Yang presents a possibility of achieving visual abstraction by making use of ordinary details of the city; on the other hand, his ambition of displaying a complete sketch of people living in Taipei with truthful observations also offers the film such a realistic flavor that it looks like something naturally presented without any artificial arrangements. The cinematic world sways between realism and expressive abstraction, and thus achieves the balance in a disorderly city. The discourse of this essay will be emphasized on how Edward Yang makes use of a myriad of media, including photography, closed-circuit television, video/computer games and reflections on windows to expand the audience'svision and create a cinematic imagery of Taipei without separating it from the everyday track. Although the mundane quality displayed by this city might seem ordinary, it is actually placed within a specific socio-historical moment of Taiwan and therefore exists as a visual record and cinematic monument that belongs uniquely to the turn of the twenty-first century.
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