9
《藝術學研究》第九期(NCU JOURNAL OF ART STUDIES 9)
周芳美
2011年11月
目次
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1 由迷孃〈唯有知道渴望的人〉管窺舒伯特歌曲風格
易繼心

81 探幽縮圖中所見的中國繪畫──以日本私人藏手卷為例
黃立芸

129 試探日治時期與1970年代鄉土運動的巷弄美學
盛鎧
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
江凌青



Contents
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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
由迷孃〈唯有知道渴望的人〉管窺舒伯特歌曲風格
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
◎ 點閱:7  ▼ 下載:10
 
檔案下載:《藝術學研究》第九期:易繼心.pdf
 
 
舒伯特曾將歌德的詩〈唯有知道渴望的人〉六次譜成歌曲,先後歷經十多年,創下他重覆譜曲次數之最高紀錄。本文藉由舒伯特對這首詩的創作探討其歌曲風格,比較他與前人(賴夏德、貝多芬)風格的差異,並分析六次譜曲以觀察其風格的演變。

此研究檢視舒伯特對歌詞作的更動、吟唱節奏及旋律、鋼琴與歌唱聲部的關係、轉調與和聲運用等,發現舒伯特歌曲拓展了原詩的涵義,對題材作出新的詮釋,並且賦予鋼琴重要性,使其成為歌詞與歌唱聲部之外表現音樂不可或缺的要素。他所開創的風格因而被稱為「浪漫風格藝術歌曲」。

〈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.”
 
探幽縮圖中所見的中國繪畫──以日本私人藏手卷為例
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
◎ 點閱:12  ▼ 下載:18
 
檔案下載:《藝術學研究》第九期_黃立芸.pdf
 
 
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。

本文首先嘗試檢視目前探幽縮圖的研究情況,接著聚焦於一卷《探幽縮圖卷》(日本私人藏),辨識其中的中國繪畫的圖像來源並探討探幽模寫的特徵。經過與原畫的分析比較,筆者發現探幽的模寫並不是全然客觀的紀錄,而是依興趣強調整體構圖、特殊的母題。再者,這些探幽模寫的原畫多半來自十五、十六世紀的中國江蘇、浙江、福建地區。
 
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.
 
試探日治時期與1970年代鄉土運動的巷弄美學
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
◎ 點閱:20  ▼ 下載:19
 
檔案下載:《藝術學研究》第九期_盛鎧.pdf
 
 
日治時期的臺灣美術,常見以「媌m」(うらまち)或「堻q」(うらどおり)為題,描繪後街或巷弄風貌的作品。歷屆臺展與府展,即有不少此類畫作。所謂「媌m」是指非臨路的街區,大約為中文「後街」之意;「堻q」則大致意指「巷弄」或「小路」。是以,在當時藝術家的審美目光注視下,此類本地的巷弄風情,已成為美學表現的重要題材。相對於街道或地標式景觀,作為城市面貌之「堙v的巷弄,大致較具本土特色,且貼近於一般庶民生活。就此而言,這類創作或可視為一種「地方色彩」之展現。然而,此時期的巷弄美學除反映出本土性與庶民性之外,其創作主體與再現客體之間的關係,究竟具有何種結構特質?這些藝術家是以「漫遊者」的眼光在看待巷弄中的人事景物嗎?此外,日治時期臺灣文學中,對於後街或巷弄的描寫,是否亦具有等同之美學意識與共享之視覺文化?相關議題的探討以及跨藝術的比較,即為本文討論之起點。

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.
 
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
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
◎ 點閱:28  ▼ 下載:25
 
檔案下載:《藝術學研究》第九期:江凌青.pdf
 
 
本文以巴贊提出的兩種電影美學:「相信影像」與「相信真實」為出發點,思考楊德昌如何建構出獨具電影感的城市再現模式,進而論證楊德昌如何以「相信影像」的美學來實踐「相信真實」的理想。楊德昌一方面呈現了一種藉由極度精密的構圖思維來建構的影像抽象化,並且也藉由對城市生活中的枝微末節的再現,來傳達他對當代影像媒介的思考;另一方面他企圖完整呈現臺北人各種生活面向的野心,又使得《一一》渾然天成得如同真實生活的節錄。楊德昌的影像就在表現主義與寫實主義的兩端擺盪,進而以一種適切而平衡的美學來再現城市。本文將分析楊德昌如何利用多重媒介如攝影、閉路監視器、電腦遊戲、甚至玻璃窗倒影來擴充視域,進而建立出一座充滿電影感但又不脫離日常生活軌道的臺北圖像,而這座城市所呈顯出來的日常性,又在看似平凡之餘,暗中被導演放置於臺灣的社會歷史框架上,不但為世紀之交的城市進行影像存檔,也為這座看似尋常而不見驚奇的城市豎立了電影式的紀念碑,也確立了東亞城市電影與媒介科技的緊密連結。
 
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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