寄／記憶：離散藝術家侯錦郎、夏卡爾的跨國自我再現

Attachment /Memory: Cross-study of Self-representation in Chin-lang Hou and Marc Chagall

張彣卉(Wen-Hui Chang)

《民生論叢》 11期 (2015/07) Pp. 69-89

摘要

侯錦郎（1937-2008）與夏卡爾（Marc Chagall,1887-1985）兩位分別從台灣與俄國移動到法國定居的藝術家，均透過畫作存放記憶中自我與異鄉／原鄉的相對關係，藉以寄託身為離散者的認同策略。本文試圖將兩者進行比較分析，從離散論述的視角窺探兩位藝術家如何藉由畫作，寄放自我與異鄉、自我與故鄉的游移記憶，同時企圖剖析兩者如何將原鄉記憶與異鄉情愁譯介併置於同一畫面，藉以闡釋其所寄望的跨界自我認同觀，希冀透過離散理論的角度，解析兩位藝術家如何在跨時空的框架中進行對話，並在寄與存的書寫中，如何重新界定其自我的主體認同。

關鍵字

記憶 ； 離散論述 ； 自我認同 ； 侯錦郎 ； 夏卡爾

並列摘要

Chin-lang Hou and Marc Chagall, two diaspora artists moving from Taiwan and Russia to live in France, stored their memories of hometown and foreign land (France) through the paintings. This paper attempts to represent their self-identity by comparing how these diaspora artists both acknowledge and challenge the attachment/memory in a diaspora framework as a means of interpreting their cross-cultural identities. By intertextual references, Chin-lang Hou and Marc Chagall repaint their migration life in their works, so as to map the notion of self-identity.

並列關鍵字

Chin-lang Hou ； Diaspora ； Marc Chagall ； memory ； Self-representation