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| Title: | 「美術」的翻譯與文化政治：以晚清為中心（1897-1910's） |
| Other Titles: | The Translation of Mei-Shu and Cultural Politics: The Late Qing Topics (1897-1910's) |
| Authors: | 武嘉文
Wu, Chia-Wen |
| Contributors: | 吳超然
Wu, Chao-Jen
東海大學美術學系 |
| Keywords: | 美術、藝術、文化翻譯、文化政治、富強、新民、國粹、中國美術
Mei-shu, Yi-shu, cultural translation, cultural politics, Fu-qiang, Xin-Min, Guo-cui, Chinese National Fine Arts |
| Date: | 2008 |
| Issue Date: | 2011-03-11T06:52:45Z (UTC)
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| Abstract: | 本文將以1897年為上限，並延伸至1910年代，對「美術」在晚清民初的知識建構過程進行探討，並參考文化翻譯理論，來處理此一過程中所涉及的概念轉換、意義協商、權力運作與知識的合法性等問題。相對於「美術」作為一外來詞，「藝術」卻是古代漢語的既有詞彙，因此，本文首先將對「藝術」在古代漢語中的情況作一回顧，並從「道?藝」秩序來檢視「藝術」在以往知識域中的存在問題。以此為基礎，吾人才可能重新面對被翻譯的「美術」自身的歷史起源。在晚清普遍瀰漫救亡的氛圍中，只有當「美術」成為一個能有效回應時代訴求的方案，它才可能被翻譯或被合法地納入當時的知識系譜中。正因如此，「美術」遂被人們投以某種現代性想像，成為同時代其他論述爭相運作的權力場域，而由此過程所牽動的文化政治議題，正是本文著重考察的對象。吾人發現，晚清對「美術」的三種界定，與當時所盛行的「富強」、「新民」和「國粹」論述分別有著密切的聯繫：首先，在「富強」的語境中，「美術」被視為一種不具學理的技能，但也正因如此，這種技能遂被整合進「實業救國」的脈絡，成為一個必須被認識和學習的對象。其次，當人們接引古典美學而使得「美術」自功利關係中解脫，並獲得一更高的知識位階之際，卻弔詭地成為「新民」論述的運作對象，換言之，只就它是無關利害的活動而言，「美術」才可能成為「改造國民性」的有效方案。「無利害性」的意義限定，成了「新民」論述得以趁隙而入的一個條件。最後，在「國粹」的文化建構論述中，作為美術品的古代遺產成了一種能表徵中國歷史?文化特徵的可見物，因此也有著亟需被保存和研究的價值。「中國美術」便誕生於這樣一個對國族的文化想像及其歷史敘事中，以此為前提，民初對於近世繪畫的批判、改造或辯護也才成為可能。
This thesis deals with the knowledge formation on the loanword Mei-shu 美術 from 1897 to 1910’s during the late Qing and early Republican periods. By referring to the Culture Translation theory, it explores topics like transition of Mei-shu as a concept, negotiation of Mei-shu as a signifier, power structure and intelligence legality. Meanwhile, this research starts from the literature review of Yi-shu 藝術 in classical Chinese language. By examining the problem of Dao/ Yi 道?藝 order in the previous episteme, it suggests from Chinese concept of Yi-shu to perceive Mei-shu as a translated idea.In the revolutionary situation of late Qing period, nonetheless speaking, Mei-shu can only receive its legality by practically functioning as certain pathological therapy to be absorbed into politics. Therefore, it becomes a discourse field of power. Among the culture politics issues in many forms of propaganda, there remains an obscure relation among these three, Fu-qiang 富強 (Prosperity), Xin-Min 新民 (Renovate the People), and Guo-cui 國粹 (National Essence). First, in the discourse of Fu-qiang, Mei-shu is taken as a technique or craft which is therefore brought into “Industry Saving the Nation-State” policy, and refers to certain educational guidebook. Second, “disinterest” that is imported by the loanword Mei-shu in the European context from classical aesthetics, circumstances the idea of Xin-Min. In a word, it is suggested that the “Renovate the People” in the new era may rather interfere into a disinterested, non-purposed modern activity than utilitarian old custom. At last, the idea of Guo-cui symbolizes the nation-state by the accessible heritage into a whole new “Chinese National Fine Arts” vision, by which this thesis concludes, and at the same time it also supports certain debates, critique and evolutional discourses during the late Qing and early Republican eras on recent Chinese paintings. |
| Appears in Collections: | [美術學系所] 碩士論文
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| 096THU00233020-001.pdf | 1598Kb | Adobe PDF | 1181 | View/Open |
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