臺灣文壇繪寫研究-以梁丹丰、席慕蓉、雷驤及奚淞為主的考察

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题名:	臺灣文壇繪寫研究-以梁丹丰、席慕蓉、雷驤及奚淞為主的考察
作者:	周佩芳;Chou,Pei-fang
贡献者:	中國文學系
关键词:	繪寫;圖文關係;臺灣現代文學;臺灣當代美術
日期:	2016-01-27
上传时间:	2016-03-17 19:02:17 (UTC+8)
出版者:	國立中央大學
摘要:	對於圖文並置的現象，傳統的閱讀及研究，是將圖像與文字割裂，截取自身所長的部分，如文學研究者聚焦繪寫集裡的文字內容，圖像被視做配角或忽略；而圖像部分多由藝術研究者探究，他們可能不夠留意文字的表現，忽略了圖文一體的全貌。本篇論文主要在考察臺灣現代文學中的繪寫現象，並以四位美術（藝術）科系專業背景出身的作家－梁丹丰、席慕蓉、雷驤以及奚淞為對象，嘗試探討圖像與文字之間的互文性，以及此與時代思潮的相關性。　　本文首先梳整臺灣當代文壇中「繪寫文本」的情況，並擬定「繪寫」的定義及研究範圍。本研究受「複合圖文（composite imagetext）」理論啟發，而萊莘（G.E.Lessnig）《拉奧孔（Laocoon）》所提的「詩畫異質說」仍是分析時重要的依據。由於論述框架為臺灣文學史，故全文篇章是以臺灣文學發展的階段及特徵來架構，並參考此四家繪寫集出版以及文壇初登場的時間先後來排序：梁丹丰、席慕蓉、雷驤以及奚淞，分別為第二章至第五章，各章討論重點在於文學表現、繪畫表現及繪寫集的圖文互文關係。　　結論為：圖文並呈的「繪寫集」是「視覺感性（visual sensitivity）」者的完整表述，「圖」與「文」不能分割。再者，繪寫作家的文學與繪畫內容大多相關，同樣反映了他們的意識形態與審美觀。最後，由於圖畫的直觀性優於文字，故繪寫集比純文字的文學書籍更加大眾化，亦可視為當代「視覺文化（visual culture）」現象之一。;Traditionally, graphics and the text are separately presented in order to show their individual advantages in reading and the research on the phenomenon of simultaneous display of both parts. The literature researchers, for example, focus on the written text in the picturesque writing, but they may ignore or underestimate the significance of graphics. Conversely, the graphics are studied by art researchers, who may not pay much attention to the text but ignore the whole picture of both graphics and the text. The main goal of this study is to investigate the picturesque writing, in which works are presented by both writings and drawings, in modern Taiwanese literature. Here, the works by four writers - Liang Danfeng ,Hsi Mujung,Lei Xiang and Xi Song, - who have the professional artistic background are discussed in order to explore the intertextuality between graphics and the text, as well as its relationship with the Zeitgeist. Firstly, the situation of picturesque writing in the contemporary literature in Taiwan was examined. The meaning of “picturesque writing” and the scope of this study were then defined. This study was inspired by the theory “composite imagetext”. The theory “heterogeneity of poem and painting” in "Laocoon" composed by G.E.Lessnig is therefore an important basis for the commentary. Since the framework for this study is based on the historical development of Taiwanese literature, the thesis is shaped according to the developmental stages and characteristics of Taiwanese literature. It was sorted according to the order of the literary debut of the four writers: Liang Danfeng ,Hsi Mujung,Lei Xiang and Xi Song, respectively described from the second to the fifth chapter. The main theme of each chapter includes the literature and painting performance, as well as the intertextual relationship between drawing and writing of picturesque writing. Conclusion: “Picturesque writing" characterized by simultaneous display of both graphics and the text is a type of performance, written and painted by the writers of "visual sensitivity", who would like to present the whole picture of both. It has always existed in the literature, and it should be regarded as a genre. Furthermore, the content of text written by the writers of picturesque writing is related to the graphics. It reflects their ideology and aesthetics. Finally, picturesque writing is more popular than pure literary text because of its stronger intuition residing in the graphics than the text. Hence, it can be regarded as one of the phenomena of contemporary "visual culture".
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