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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/93589

    Title: 恩索爾的面具意涵與臉的揭露
    Other Titles: Meaning of Ensor's mask and the revelation of the face
    Sens du masque d'Ensor et la révélation du visage
    Authors: 謝瓊儀;Hsieh, Chiung-Yi
    Contributors: 淡江大學法國語文學系碩士班
    蔡淑玲;Tsai, Shu-Ling
    Keywords: 恩索爾;;崇高;面具;;表情;人性;James Ensor;light;Sublime;Mask;face;expression;humanity
    Date: 2013
    Issue Date: 2014-01-23 13:14:47 (UTC+8)
    Abstract: 本文以恩索爾的創作理念為研究核心,畫家不斷在其書信中提到個人的重要性,他認為藝術創作是沒有任何規則可循的。在恩索爾豐富多變的創作元素中,他特別談到光與觀看的關係,同時也批判法國印象派與新印象派的光線,因此研究者首先以光為問題意識,試圖透過光尋求畫家最終要反對的是什麼,也發現了恩索爾對於光的呈現方式,事實上包含了一種崇高感,透過幾幅畫作與崇高之間的論證,畫家最終重視的皆是個人感受。事實上對於光與光線的分析探究,觸及了「如何呈現」的問題,究竟該如何表現創作元素?對此問題,研究者認為透過面具的研究即可得到完整解答。


    This thesis was developed mainly based on the creative concept of James Ensor. He constantly mentioned the importance of the individual in his own write and believed that there are no rules for artistic creation. In these abundant and varied creative elements, the artist noticed the relation of the vision and the light, and meanwhile he criticized the light ray used by the Impressionists and the Neo-impressionists. Due to the reason, the researcher tried to find out by Light what Ensor was against, and finally discovered that in fact the manner of using the light in the pieces of paintings of Ensor contains a sense of sublime. The result tells that the most important thing is always the emotional feelings from the painter. About the light and the light ray, the researcher also propose a question of representation : how to represent actually what we see ? The answer is in the mask which will be analyzed in the following part.

      For Ensor, the mask is significant and it has become the most famous characteristic in his whole creations, so the researcher intended to pursue the way of seeing through the mask. The process of this research in this part responds to “Representation” by the light. How to lead the viewer to understand the meaning of Ensor’s mask ? Even though the masks he presented derived from the various types of drama and primitive society, Ensor didn’t follow the original appearance of features, instead he focused on the expression on the face. Regarding the expression, the concept of French philosopher Emmanuelle Levinas can support the point. How do we look at the expression from Ensor''s point of view ? Here we will discuss from the relation between outward and inward to the painter''s point of view. From masque to face, we can understand clearly the painter''s thought. He not only broke the limit of the symbol on the outward of the mask, but also told his own inner spirit which his so-called humanity. Above all, these concepts came from his own experiences and were included by his unique character.

      In the content, first of all, the researcher clarify the direction of the thesis by analyzing the documents. Currently, the mask was considered in the category of Carnival and was interpreted with a rebellious spirit or a satire on human nature. However, the thesis is completely different from the Carnival logic but emphasizes merely on Ensor''s opinions. By the mask and the face, the researcher realized what the painter might want to express. After comparing the difference, the researcher will take a few paintings for example to notice the evolution and the related causes of Ensor’s paintings. This part will help to understand that changes of light and the mask are mainly from emotions of the painter. Then, entering the research through the light and the mask, the researcher also discusses several paintings to explain and lead the viewer to a better understanding to the painter''s perspective.
    Appears in Collections:[法國語文學系暨研究所] 學位論文

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