摘要
本文是以位居上個世紀之交(1889-1914)法國文化核心人物之一：柏格森(Henri Bergson)哲學的角度，去詮釋同一時期現代繪畫的研究計劃之一部分。 該研究之「第一部分」已可見諸拙作：《塞尚與柏格森》，乃首度有關「現代繪畫之父」塞尚與柏格森的實質對比研究(1889-1906)；本文延續其論旨，而為「後續部分」――是以相同的角度擇要詮釋立體主義的代表性理論家梅津杰(Jean Metzinger)的畫論。 希望由此研究，得以初步呈現現代繪畫與柏格森哲學在同一文化與意義體系中互動與發展的一個面向；以有別於目前對現代繪畫一般較著重風格分析的論述。
並列摘要
Henri Bergson's philosophy shares great importance in the late 19(superscript th) and early 20(superscript th) centuries in French. This is the point of departure I will take in this article, which constitutes the consequent part of my modern painting research. And for the first part of the research, please see my dissertation: Cezanne and Bergson, which deals with the two in some substantial aspects. While this part regarding Metzinger, key theorian of Cubism was taken under the same direction with similar approach. My argument is the analogy between Bergson's durée and Metzinger's stress on duration and multiple-view-point in artistic creation. I will analyze both their notions in terms of the ”appearance and reality” metaphysics-wise and also the Bergson vogue in cultural sociology. This article will show the similarity between Bergsonian thought and Metzinger's Cubist theory. Consequently, a principal characteristic of Cubist painting could better be interpreted as one of formal crystallizations of Bergsonian durée.
延伸閱讀
- 徐巧欣（2010）。社區空間再發展之研究-以台中縣石岡鄉梅子社區為例〔碩士論文，國立臺灣大學〕。華藝線上圖書館。https://doi.org/10.6342/NTU.2010.10116
- Su, C. H. (2009). 生態現象學初探：以梅洛龐蒂閱讀《莫比•迪克》，以梅爾維爾回饋梅洛龐蒂 [doctoral dissertation, National Taiwan University]. Airiti Library. https://doi.org/10.6342/NTU.2009.01342
- Richard E. Palmer、李佳馨（2008）。哲學詮釋學Ⅰ：早期海德格，以及施萊爾瑪赫和狄爾泰的初步回顧。哲學與文化，35(2)，45-68。https://doi.org/10.7065/MRPC.200802.0045
- 李佩盈（2014）。Dreyer's ＂Whiteness＂ and another Dimension: From Color as Subtraction of Images to Supremacist Paintings。藝術學研究，(15)，3-27。https://www.airitilibrary.com/Article/Detail?DocID=a0000478-201412-201502020065-201502020065-3-27
- 黃雪霞（2005）。Bergson's Biography and Works。哲學與文化，32(5)，3-11。https://doi.org/10.7065/MRPC.200505.0003