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http://140.128.103.80:8080/handle/310901/31392
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| 题名: | 以愛之名 |
| 其它题名: | In The Name Of Love |
| 作者: | 朱軼楠
ZHU,YI-NAN |
| 贡献者: | 吳超然
WU,CHAO-RAN
美術學系 |
| 关键词: | 恐慌;自我中心;衝突;孤獨
Panic;Egoism;Contradicition;Loneliness |
| 日期: | 2019 |
| 上传时间: | 2019-03-21T09:05:45Z (UTC)
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| 摘要: | 在一胎化政策下的現代人都是公寓裏的獨子現在的我們都生活在被過度保護的世界裏。一切現實事務都被替代處理，現實感很弱的我們，只能在虛擬的世界裏體會到真實感，又在真實的世界裏感覺虛擬，導致人與人之間的關係疏離。大家都各自生活在各自獨立的小空間，以管窺天的以為這就是全世界。而生活在被父母或者社會營造出來的的溫室裏的我們，就像生活在粉紅色的籠子裏，父母給予無微不至養護的同時又給我們必須要成為優秀人士的壓力。看起來衣食無憂的內心卻充滿壓力、無助感以及孤獨感。在愛與壓迫的對峙下，我們內心反抗的力量只好內化，導致現代社會精神疾病的比例居高不下。溫室的我們敏感脆弱又夢幻。馬克思說過「人是社會與自然關係的產物」[ 「人是社會與自然關繫的產物」一詞出自《費爾巴哈提綱》第六條，是馬克思第二次對人的本質做出的敘述。]。我想要通過探討的是以愛之名的社會與生活環境給現代人心理狀態的影響。本文分成兩個部份，第一部份就自己的背景出發，討論創作動機，題材選擇及媒材和表現形式．第二部份細論作品，羅列不同時期作品的流變發展，瀝清單張作品中想要呈現的社會環境帶給我的體悟以及對自己的反思。大綱編排中緒論始於自己的成長背景和對於自己的觀察反思以及對自己生長的社會環境做連結。第一章首先敘述創作研究動機目的以及範圍方法，以創作者自身作為出發點聯結到同是生長在中國一胎化的背景下現代人的心理狀態以及對於現代社會的思考。第二章則是對於現代人與自身特質的思考。生活在被父母社會營造出來的的溫室裏的我們同時也要接受父母和社會給我們設置的條條框框；在接受父母給予無微不至養護的同時又必須承受要符合他們期待的壓力。看起來衣食無憂的內心其實充滿壓力、無助感以及孤獨感。第三章則是對於作品的美學基礎以及畫面的元素進行探討。第四章是就作品的風格與形式做一個系統的分析，從創作初期到中後期創作的連接與轉變。最後以第五章的總論動機，目的的發展的方向和對未來的展望。以此論文爬梳自己的創作脈絡，並提供給讀者一個閱讀作品和瞭解創作者的簡介導覽。表述自己想要呈現出一種看似溫暖舒適的環境，實質上會產生焦慮恐慌情緒的矛盾衝突感。抱持著上述所提到的理念創作，將我對於現代人與社會的關懷與正視敘述出來，並期許有更進一步的發展與提升。
Under the one-child policy, modern people are the only children in their family, living in an over-protected world. All things are dealt with by our parents. We can hardly feel the sense of reality which however can be felt in the virtual world. In turn, we somehow feel virtual in the real world, leading to the alienation of relationships among each of us. We all live in our own little space, thinking that this is the whole world. Living in the greenhouse fully protected by our parents or society is like living in a pink cage where our parents feed us with both care and pressure to become successful people. We seem to have nothing to worry about being like flowers living in such a greenhouse, however we are actually full of stress, helplessness and loneliness. In the confrontation between love and oppression, the power of our inner resistance has to be internalized, resulting in a high rate of mental illness in modern society. Like flowers in the greenhouse, we are vulnerable and dreamy. Marx (1845) once said, “The essence of man is the ensemble of the social relations[ The saying comes from the Article 6 of the Thesis on Feuerbach, where Marx explains the essence of man for the second time.]”. What I want to explore is the influence of the social and living environment in the name of love on the psychological states of modern people. This paper is divided into two parts. The first part discusses the motivation, the choice of theme, the media materials and the manifestation based on my background while the second part analyses the works in detail, list the development and tendency of the works in different stages, figure out the social environment behind each work as well as my own feelings, thoughts and reflections.In the outline of the paper, the introduction starts from my observation and reflection based on my growing background as well as figuring out the relationship between my growing background and the social environment. The first chapter states the motivation, aim and methodology of my research, and also deducts the psychological states and thoughts of the modern society of modern people who also grow up under the China's one-child policy like the author herself. The second chapter discusses the special personalities of modern people. Living in the greenhouse created by our parents and society, we also have to accept the rules set by them. That is to accept the pressure of living up to their expectations while enjoy the care and protection they give. We seem to have nothing to worry about being like flowers living in such a greenhouse, however we are actually full of stress, helplessness and loneliness. The third chapter analyses the aesthetics of the works and the elements of the images. The fourth chapter gives a systematic analysis of the style and form of the works, as well as the cohesion and transformation from the early stage to the middle and later stages. Finally, the fifth chapter makes a conclusion, predicts the development and tendency reflected in the works and gives some future prospects. This paper gets my thoughts into shape, provides readers with a guidance of reading works while understanding the creators. In addition, it presents a contradiction between the comfort the “greenhouse” brings to us and the anxiety and panic cause by the real society. With the above-mentioned perception, this paper also shows solicitude for modern people and society, for which I look forward to the further development and improvement. |
| 显示于类别: | [美術學系所] 碩士論文
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| 107THU00233006-001.pdf | | 3067Kb | Adobe PDF | 422 | 检视/开启 |
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