| 题名 |
重複美學研究：神話文本中的編織史 |
| 并列篇名 |
Repetitive Aesthetic Research: The History of Weaving in Mythological Texts |
| DOI |
10.6922/THJAR.202012_(2).0005 |
| 作者 |
劉鳳鴒(Fengling Liu) |
| 关键词 |
文本 ； 重複美學 ； 神話 ； 編織 ； text ； repetitive aesthetics ； mythology ； weaving |
| 期刊名称 |
清華藝術學報 |
| 卷期/出版年月 |
2期（2020 / 12 / 31） |
| 页次 |
95 - 128 |
| 内容语文 |
繁體中文 |
| 中文摘要 |
當阿拉克妮（Arachne）日復一日地編織，有如蜘蛛結網般的重複勞役，沒有明顯結構，卻在重複當中織出時間軌跡。重複做為美學實踐自神話故事中即可見端倪，擁有無限創意與想像。本篇論文將以重複美學為主軸，以「重複美學」之「編織概念」書寫「編織的起源與傳說」：神話故事中編織女神各司其職，雅典娜（Athena）身為工藝女神，發明紡織，是諸神視覺藝術的核心焦點；阿拉克妮以凡人角度重寫神的故事，遞嬗變化無止境的精湛技藝；潘妮洛普（Penelope）以拆解包裝編織，所有啟動皆源於舊有材料的再觸探，讓殘餘反具意義；奈特（Neit）兼具男性與女性特徵，被認為是創造原始水的化身，名字本身亦帶有織工意涵。神話故事猶如一匹縱橫交錯的布料，雜揉著生活與想像的染料，而人類文明第一次縫紉經驗，來自獸骨與肌腱穿引，編織創作原型是如此與肉身骨幹貼合，又與史料文本相熨。筆者以創作者角度觀察與整理，由個人創作脈絡延伸出的論述體，透過歷史文本作為線梭，將不同文本對於編織的傳說與記錄作為線軸，拉出編織發展脈絡之依循，並以此對應當代藝術中與編織相關的藝術創作。歷史文本與當代藝術中重複美學實踐作品互文，以此織錦世代與歷時痕跡的編年地圖。本文將分成四個部分討論：緒論、重複美學、文本中的編織、結論。嘗試以「編織」概念整理文獻，透過曼陀羅思考法（Mandala）拓展相關文本聯想與參照，將中心思想與關鍵字彙串連，往外延伸擴展並加深，猶如織網架構此論述。 |
| 英文摘要 |
When Arachne weaves day after day, it is akin to spiderweb-like repetitive labor without the obvious structure but with the weaving time trajectory in the repetition. Repetition as an aesthetic practice can be noticed in myths and stories, with unlimited creativity and imagination. This thesis will consider repetitive aesthetics as the main axis and compose the ＂origin and legend of weaving＂ based on the ＂weaving concept＂ of ＂repetitive aesthetics.＂ As per mythology, the goddess of weaving performs her duties. As the goddess of craftsmanship, Athena invented textiles, which is the core focus of the visual arts of the gods. Arachne rewrites the story of the gods from the perspective of mortals, passing endless changes and exquisite skills. Penelope weaves by disassembling the packaging; everything comes from the reprobing of the old materials, rendering the remnants meaningful. Neit has both male and female characteristics and is considered to be the incarnation of original water creation. The name itself means weaver. The mythical story is like a crisscrossing cloth, mixed with the dyes of life and imagination, and the first sewing experience of human civilization comes from animal bones and tendon threads. The prototype of weaving very close to the backbone of the flesh and historical materials, including the related texts. The author observes from the perspective of the creator; the discourse extends from the personal creation context, using historical texts as thread shuttles; and the legends and records of weaving in different texts are considered as spools, drawing out the evolving context of weaving and the corresponding artistic creation related to weaving in contemporary art. Historical texts and contemporary art with repetitive aesthetic practice are intertextualized in such a way that a chronological map of the brocade of generations and diachronic traces can be drawn. This thesis will be divided into four parts for discussion: introduction, repetitive aesthetics, weaving in the text, and conclusion. This is an attempt to organize the literature applying the concept of ＂weaving,＂ expand the association and reference of related texts through Mandala, concatenate the central idea and keywords, and extend and deepen it, similar to a web structure. |
| 主题分类 |
人文學 >
藝術 |
| 参考文献 |
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