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研究生: 宋依螢
論文名稱: 英國維多利亞繪畫的家庭及兩性形象
Images of Family and Gender in Victorian Paintings
指導教授: 楊永源
學位類別: 碩士
Master
系所名稱: 美術學系
Department of Fine Arts
論文出版年: 2010
畢業學年度: 98
語文別: 中文
論文頁數: 172
中文關鍵詞: 維多利亞家庭繪畫家庭觀念中產階級思想道德墮落女性
英文關鍵詞: Victorian domestic painting, domesticity, middle-class ideology, morality, fallen woman
論文種類: 學術論文
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  • 本論文以維多利亞時期的家庭繪畫為研究對象,試著討論十九世紀繪畫和中產階級家庭意識觀達成的一致關係,並藉此關係說明中產階級形塑身分與文化認同的過程。
    本論文第二章闡述中產階級的崛起及其推動理想家庭生活的背景,藉由中產階級家庭意識觀的核心觀念:二元領域論,刻畫家庭日常生活畫中家庭成員扮演的角色及維多利亞價值觀賦予的形象。第三章關注維多利亞家庭觀中兩種極端的女性形象:「家庭天使」與「墮落女性」,藉由理想女性與外遇女子形象的分析,能清楚理解十九世紀視道德行為的優劣為階級認同的法則;本章以Augustus Egg的Past and Present為代表,探索繪畫作為警示維多利亞時期婚姻及兩性雙重標準的指向,使其不只是道德非議的圖像之一。第四章透過家庭繪畫的分類與整理,一方面重建中產階級男性經歷家庭規範的情形,平衡男性於家庭形象的論述篇幅遠少於女性的現象;另一方面以中產階級贊助的勞動階級農舍家庭類型,突顯中產階級致力維繫社會地位及家庭男性權威形象的意圖。

    This thesis studies Victorian domestic paintings and tries to find out the consistency between the paintings and the middle-class ideology in the nineteenth century. With this consistency, the theme of my thesis is to illustrate that the way middle class mold identity and culture authority.
    The second chapter gives a brief background of the growth of the middle-classes and the trend of ideal domestic thought. By discussing the core of middle-class domestic ideology, the concept of separate spheres according to sex/gender/class, we figure out the family roles which daily paintings play in and their images which Victorian value system constructs. Chapter three concerns two extreme female prototypes of Victorian domestic ideology: ‘Angel in the House’ and ‘Fallen Woman’. Analysis of both female ideal and the ‘adulteress’ makes it clear that the regulation of moral behavior during nineteenth century was part of a wider formation of class identity. This chapter also focuses on Augustus Egg’s Past and Present. Rather than the painting being a morally didactic work, Past and Present might be seen as Egg’s warning against the double standard of Victorian marriage and gender. Chapter four categorizes Victorian family paintings. That not only helps us realize how middle-class men experienced the domestic life, but also enriches discussions about man’s lifestyle in the private sphere. Besides, working-class cottage paintings mainly patronized by middle class may emphasize the intention of middle class devoting to maintain its social status in hierarchy and the patriarchal authority in domestic sphere.

    緒 論 1 第一節 研究背景、動機與目的 1 第二節 文獻回顧與評估 12 第三節 研究方法 22 第二章 中產階級家庭意識形態與理想家庭角色 26 第一節 中產階級推動的家庭風潮 26 第二節 維多利亞時期理想家庭的特徵:二分領域論 30 第三節 維多利亞時期的家庭角色 36 第三章 維多利亞時期家庭與墮落女性─Augustus Egg,Past and Present 55 第一節 Past and Present Nos.1-3 56 第二節 外遇女子的視覺再現 65 第三節 Past and Present的指涉 78 第四章 維多利亞家庭繪畫的男性 94 第一節 缺席的家庭男性 96 第二節 溫情的家庭男性 106 第三節 權威的家庭男性 118 結 論 124 參考書目 132 圖 錄 136

    專 書

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    期 刊

    Bossche, Chris R. Vanden. “The Queen in Garden/Woman of the Street: The Separate and the Inscription of Gender” The journal of pre-Raphaelite studies (Spring, 1992): 1-15.
    Edelstein, T. J. “Augustus Egg’s triptych: a narrative of Victorian adultery” Burlington Magazine vol.125, no.961 (1983): 203-212.
    Gardner, Joseph. “Michelangelo’s Sweetness, Coleridge’s Flycatchers, Ligeia’s Eyes, and the Failure of Art in the House of Life” The journal of pre-Raphaelite studies (Spring, 1995): 67-74.
    Hancher, Michael. ”Hunt’s Awakening Conscience” The journal of pre-Raphaelite studies (Fall, 1995): 27-49.
    Nead, Lynda. “The Magdalen in Modern Times: The Mythology of the Fallen Women in Pre-Raphaelite Painting” Oxford Art Journal 7, no. 1 (1984): 26-37.
    Nichols, Kathleen. “Pre-Raphaelite Art Online: A Survey” The journal of pre-Raphaelite studies (Fall, 2003): 97-102.
    Thomas, Keith. “The Double Standard”, Journal of History Ideas, vol.20, No.20 (April, 1959):195-216.
    Valverde, Mariana. “The Love of Finery: Fashion and the Fallen Woman in Nineteenth-Century Social Discourse” Victorian Studies 32, no. 2 (Winter, 1989): 168-88.

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