DSpace community: 文學院

意圖入座、接受挑釁──論黃華成表演文本的後設策略與渾濁空間;意圖入座、接受挑釁──論黃華成表演文本的後設策略與渾濁空間

Tue, 20 Oct 2026 09:21:03 GMT

title: 意圖入座、接受挑釁──論黃華成表演文本的後設策略與渾濁空間;意圖入座、接受挑釁──論黃華成表演文本的後設策略與渾濁空間 abstract: 黃華成（1935-1996）六零年代起跨足小說、美術設計、實驗影像、電影劇本、前衛展覽，多方媒材創作不輟，被追認為臺灣裝置藝術與觀念藝術先驅。在其生涯佚事和佚作仍待後人補遺之際，本文意在指出「黃華成的方法論」，以及「黃華成研究的方法」尚未開發之處。自檢視其「寫作計畫表」手稿出發，本研究在方法上總是關於雙向的時域「迴返」：探看黃華成所身處的六零年代文化環境條件，同時也檢視其創作如何與當代藝術視角的回返趨力交映織構。本文使用「表演文本」一詞，將黃華成在《劇場》雜誌（1965-1968）首先發表的原創作品，亦為其第一齣舞台短劇〈先知〉（1965），與病歿前策劃的「大台北畫派30年」活人告別式展覽，視為其表演性創作圖譜極簡與極盛的兩個端點。期間穿插黃華成在影像實驗、設計實踐和藝術提案的表演面向為例，敘明黃華成譜寫、執行表演文本的重要方法之一為宣言表演。而「宣言」總是指向黃華成借抄寫員角色之口提出的「大計畫」──元計畫，關於計畫的計畫，行動的行動，劇本的劇本，是元（meta）關於意旨本身、後設和超越之意。當「宣言表演」交會「後設策略」，表演的言說行動者遂成為不可盡信之人，創作者常以自我調侃和自省，以及玩笑、把戲、悲喜鬧劇、騙局等手段，輔以污穢與瀆神的筆法，將作品變造為一處渾濁化空間，在既有的概念分隔門檻上，懸置且玩忽。第一章分析黃華成的舞台劇本如何與空間裝置共構，呈現在觀眾席的演出，藉此偷渡對於僵化觀／演關係的慣習冒犯與觀念挑釁；第二章，試論蘇育賢《先知》錄像裝置（2016）的檔案行動與展場布置，如何作為原作劇本的後製與擴延版本。第三章接續舞台設計論題，以未製作的〈佈景〉（1965）與未發表的〈淨身〉（1966）劇本為例，探討污穢書寫如何干擾了劇場／世界，神聖／世俗，藝術／生活之間的界分扞格，並以黃華成作品內部諸種宣言行動的互文關係，延伸到第四章，展開關於「大台北畫派宣言」發表介面，包括「大台北畫派秋展」和畫派十周年、三十周年紀念活動的討論，聚焦於事件性，並觀測黃華成創作版圖預設的「虛線」與付諸實行的「實線」之間的交會和異軌，及其所體現的創作方法與姿態。;Huang Hua-Cheng (1935–1996) was a restless polymath who， since the 1960s， traversed the realms of fiction， graphic design， experimental cinema， screenwriting， and avant-garde exhibitions. Today， he is retrospectively recognized as a pioneer of installation and conceptual art in Taiwan. While many of his anecdotes and "lost works" await rediscovery， this paper aims to delineate the untapped territories within both "Huang’s methodology" and the "methodology of studying Huang." Starting with an examination of his handwritten ′Writing Project Lists，′ this research methodologically operates through a bidirectional temporal ′recursive′ process: exploring the cultural conditions of the 1960s in which Huang was situated， while simultaneously examining how his creative output is interlaced with the drives of return within the contemporary artistic gaze. This paper adopts the term "performance texts" to bridge two temporal extremities in Huang’s performative map: his debut original play The Prophet (1965)， first published in Theatre Quarterly (1965-1968)， and his self-staged "living funeral" exhibition， The 30th Anniversary of the École de Great Taipei， held shortly before his passing. By interlacing examples from Huang’s experimental imagery， design practices， and artistic proposals， this study elucidates that "manifesto-performance" serves as a primary method in his orchestration and execution of performance texts. These "manifestos" consistently point toward a "Grand Project"—a meta-project voiced through the persona of a scribe. It is a project of projects， an action of actions， and a script of scripts; it embodies the "meta" in its sense of intention， self-reflexivity， and transcendence. When manifesto-performance intersects with meta-strategies， the performative agent becomes an unreliable narrator. Through self-mockery， introspection， and the deployment of jokes， tricks， tragicomic farces， and hoaxes—often rendered with a touch of profanation and filth—Huang’s work transmutes into a profane space. Within this space， the thresholds of established conceptual categories are suspended and returned to a state of play. The first chapter analyzes how Huang’s stage scripts co-constitute with spatial installations to relocate the "performance" into the audience’s seating area， smuggling in a conceptual provocation against the habits governing the acts of beholding and performing. The second chapter examines Su Yu-Hsien’s video installation The Prophet (2016) as an archival act and exhibitionary arrangement， exploring how it functions as a post-production and expansion of the original 1965 script. Shifting to Huang’s stage design， the third chapter utilizes the unproduced The Scenery (1965) and the unpublished The Unholy Ablutions (1966) to discuss how "filthy writing" corrodes the thresholds between theater/world， sacred/secular， and art/life. Finally， the fourth chapter traces the intertextual manifesto-actions within Huang’s oeuvre to the interfaces of the Manifesto of the École de Great Taipei， including its Autumn Exhibition and the 10th and 30th-anniversary events. By focusing on "eventness，" this study observes the convergence and divergence between the "dotted lines" and "solid lines" in Huang’s creative map， thereby elucidating his idiosyncratic creative posture and methodology.

臺灣山、臺灣海——鄭善禧的山水畫研究;臺灣山、臺灣海——鄭善禧的山水畫研究

Tue, 20 Oct 2026 09:20:51 GMT

title: 臺灣山、臺灣海——鄭善禧的山水畫研究;臺灣山、臺灣海——鄭善禧的山水畫研究 abstract: 鄭善禧（1932-），出生於福建漳州，1950年移居臺灣，是一位臺灣水墨畫家、書法家及教授。1997年，榮獲首屆「國家文化藝術基金會文藝獎」美術類獎項；2017年，獲頒行政院文化獎。2024年，獲教育部「藝術教育貢獻獎」終身成就獎。其創作題材廣泛多元，善於自生活經驗中汲取靈感，以其具有臺灣本土色彩、民間藝術的樸實與兒童天趣的表現特質而聞名。作品兼具傳統詩、書、畫修養與西洋繪畫媒材運用。在橫跨半世紀以上的創作與教育生涯中，其山水作品數量豐富且持續不斷，為其創作中具重要性的畫類之一。本文以鄭善禧山水彩墨作品為研究對象，透過圖像分析、文獻探討與作品比較，探討其如何建立個人化的彩墨表現。本文也進一步將鄭善禧被稱為「濃墨重彩」或「彩墨風格」的概括描述，轉化為更具體的解釋。同時，本文亦分析其作品所呈現之樸實趣味的創作氣質，並回應其在1970年代被納入鄉土繪畫脈絡之意涵。最後，透過對鄭善禧長期山水創作的考察，探討其在面對臺灣不同地景面貌與表達個人感受之際，如何展現出兼具地域特質、時代性與個人風格的臺灣山水樣貌。鄭善禧的山水彩墨創作，不僅展現其融合傳統筆墨、現代色彩與現世生活，也呈現出臺灣山水畫在地景再現、視覺形式與文化認同上的多重面向。;Cheng Shan-Hsi (1932- )， born in Zhangzhou， Fujian， relocated to Taiwan in 1950. He is a Taiwanese ink painter， calligrapher， and professor. In 1997， he received the First “National Award for Arts ”-Fine Arts category; in 2017， he was honored with the Executive Yuan National Cultural Award; and in 2024， he was awarded the Lifetime Achievement Award， Ministry of Education “Arts Education Contribution Award”. His works encompass a wide range of subjects， drawing inspirations from everyday life， and are renowned for their distinctly Taiwanese local character， rustic folk qualities， and childlike expressiveness. His art integrates the traditional literati cultivation of poetry， calligraphy， and painting with the use of Western painting materials. Across a creative and teaching career spanning more than half a century， landscape painting has remained a significant and prolific category within his oeuvre. This study focuses on Cheng Shan-Hsi’s color ink landscape paintings， employing image analysis， literature review， and comparative methods to explore how he developed a personalized mode of color ink expression. It further seeks to translate generalized descriptions such as “dense ink and rich color” or “color ink style” into more precise interpretations. In addition， this study examines the unadorned and playful qualities present in his works， responding to their classification within the context of nativist painting in the 1970s. Finally， through an examination of Cheng’s long-term engagement with landscape painting， this study investigates how he represents Taiwan’s diverse terrains while expressing personal sensibilities， thereby articulating a form of Taiwanese landscape that integrates regional characteristics， historical context， and individual style. Cheng Shan-Hsi’s color ink landscapes not only demonstrate a synthesis of traditional brushwork， modern color， and lived experience， but also reveal the multiple dimensions of Taiwanese landscape painting in terms of spatial representation， visual form， and cultural identity.

彰化縣南郭國民小學校史之研究（1919－2023）;彰化縣南郭國民小學校史之研究（1919－2023）

Tue, 20 Oct 2026 09:11:44 GMT

title: 彰化縣南郭國民小學校史之研究（1919－2023）;彰化縣南郭國民小學校史之研究（1919－2023） abstract: 本研究旨在探討南郭國民小學之歷史發展與變遷，梳理其自日治時期至今之學校沿革、教育制度、校園空間、師資結構、學生規模及課程發展，並探究學校與地方社會之互動脈絡。研究主要採歷史研究法，蒐集官方檔案、校史資料、紀念專刊、畢業紀念冊、老照片、歷史地圖及報章雜誌等文獻，透過多元史料之交叉考證，建構南郭國民小學之歷史發展圖像。研究發現，南郭國民小學前身歷經彰化第二公學校、南郭公學校、旭公學校及旭國民學校等階段，其校名、學制與校務發展與殖民教育政策及地方社會變遷密切相關。日治時期學校規模持續擴張，學生人數與班級數逐步增加，至1942年達到高峰；師資結構則隨殖民政策及戰時體制轉變而調整，臺籍教師比例下降，反映皇民化政策與內臺差異對基層教育之影響。此外，制服、髮式、隊形、出勤及集體儀式等校園規範，亦展現學校教育由知識傳授延伸至身體與行為規訓之過程。戰後，隨國民教育制度及六年義務教育推展，學校課程與教育理念持續轉型。研究認為，學校歷史不僅由制度與行政沿革構成，亦由教師、學生、校友及地方社會共同形塑；透過校史資料與口述記憶之整合，可深化學校與地方文化之連結，並作為校本文化傳承與未來校務發展之參考。;This study aims to examine the historical development and transformation of Nanguo Elementary School， tracing its institutional history， educational system， campus spatial development， teacher composition， student enrollment， and curriculum development from the Japanese colonial period to the present. It also explores the interactions between the school and the local community. The study primarily adopts the historical research method and draws upon a wide range of documentary sources， including official archives， school history materials， commemorative publications， graduation yearbooks， historical photographs， maps， newspapers， and periodicals. Through cross-referencing and critical examination of these diverse sources， the study reconstructs the historical development of Nanguo Elementary School. The findings indicate that the predecessor of Nanguo Elementary School underwent several stages of development， including Changhua Second Public School， Nanguo Public School， Asahi Public School， and Asahi National School. Changes in the school’s name， educational system， and administration were closely related to colonial educational policies and transformations in local society. During the Japanese colonial period， the school continued to expand in scale， with steady increases in student enrollment and the number of classes， reaching a peak in 1942. The composition of the teaching staff also changed in response to colonial policies and the wartime system. The declining proportion of Taiwanese teachers reflected the influence of the Kominka movement and the unequal relationship between Taiwanese and Japanese educators within the colonial education system. In addition， regulations concerning uniforms， hairstyles， formations， attendance， and collective ceremonies demonstrate how school education extended beyond the transmission of knowledge to include the regulation of students’ bodies and behavior. After World War II， the implementation of the national education system and the expansion of six-year compulsory education brought continued changes to the school’s curriculum and educational philosophy. This study argues that school history is shaped not only by institutional and administrative developments but also by the experiences and interactions of teachers， students， alumni， and the local community. By integrating school historical materials with oral memories， it is possible to deepen the connection between the school and local culture while providing a valuable reference for the preservation of school-based cultural heritage and the future development of school affairs.

中沙醫療團的外交實踐與困境(1979-1990);中沙醫療團的外交實踐與困境(1979-1990)

Tue, 20 Oct 2026 09:11:41 GMT

title: 中沙醫療團的外交實踐與困境(1979-1990);中沙醫療團的外交實踐與困境(1979-1990) abstract: 臺灣的國際醫療援助歷史悠久，其中一九七九年至一九九〇年間的「中沙醫療合作計畫」是中華民國醫療衛生史的外交里程碑。本研究以「中沙醫療團」為核心，探討其在冷戰後期地緣政治變動下，如何作為臺灣突破外交孤立、實踐國家意志的制度化媒介，並剖析其在具體執行中所面臨的跨文化困境與制度轉化。本論文主要分為三個層面進行考察：首先，探討官方動員的合作機制，分析在「全面外交」思維下，國家體制如何透過高薪重賞與官方號召，動員國內頂尖醫療機構（如臺大醫院）之核心骨幹赴沙國吉達（Jeddah）與霍埠醫院（Hofuf）。其次，著眼於微觀的執行實況與跨文化連結，再現臺灣醫護人員初抵異鄉時，在語言、宗教，以及「阿拉掌管的醫療節奏」下所經歷的文化衝擊與日常生活調適。最後，剖析制度的裂縫與轉化，揭示隨著兩國政治誘因與經濟差距的消長，官方動員模式如何面臨極限，進而轉化為沙國當地社會對臺灣醫療的深層依賴。中沙醫療團不僅是一場單向的技術輸出，更是臺灣醫衛人員集體在異文化體制下的外交實踐。儘管最終面臨一九九〇年中沙斷交的政治困境，其運作經驗仍成功化為當代臺灣醫衛外交（如Taiwan IHA）的建制化養分，展現了「Taiwan Can Help」的早期外交韌性。;Diplomatic Practice and Institutional Dilemmas of the Sino-Saudi Medical Team， 1979–1990 ABSTRACT Taiwan has a long history of international medical assistance， among which the "Sino-Saudi Medical Cooperation Program" from 1979 to 1990 stands out as a monumental milestone in the nation′s diplomatic and public health history. Focusing on the "Sino-Saudi Medical Team，" this study explores how it served as an institutionalized vehicle for Taiwan to break through diplomatic isolation and implement state will amidst geopolitical shifts in the late Cold War， while analyzing the cross-cultural dilemmas and institutional transformations encountered during its execution. The thesis investigates this historical phenomenon from three dimensions. First， it examines the official mobilization mechanism， analyzing how the state mobilized core medical personnel from top-tier institutions like National Taiwan University Hospital to operate King Fahad Hospital in Hofuf and the general hospital in Jeddah through substantial financial incentives and administrative appeals under the strategy of "Total Diplomacy." Second， from a micro-perspective， it reconstructs the practical execution and cross-cultural connections， capturing the cultural shocks and daily life adaptations experienced by Taiwanese medical workers regarding language barriers， religious observance， and the "medical rhythm governed by Allah." Lastly， it dissects the structural fractures and transformations， revealing how the official mobilization model reached its limits as political incentives diminished and domestic wage conditions improved， which subsequently evolved into a deep societal reliance on Taiwanese medical services within Saudi Arabia. The findings indicate that the Sino-Saudi Medical Team was not merely a unidirectional transfer of technology， but a collective diplomatic practice of Taiwanese medical personnel within a foreign cultural system. Despite the diplomatic setback of the 1990 severance of ties， its operational experience and accumulated human capital successfully paved the way for the institutionalization of contemporary Taiwanese medical diplomacy， such as Taiwan IHA， demonstrating the early historical roots of "Taiwan Can Help."