自感良好的小吉至子－李明倫膠彩創作論述

本論文討論筆者為尋求「臺灣性」，表現臺灣文化主體而創作出的作品：「自感良好的小吉至子」。筆者將繁體的「臺」取出「吉」與「至」兩字，並與膠彩的因緣結合，命名為「小吉至子」，來指涉臺灣。「自感良好」，則表現筆者對於臺灣文化現象的一個判斷。「自感良好的小吉至子」將臺灣社會的文化現象，轉為富含辯證性的創作，包含四個系列：《擬態》、《假磚》、《寧視》與《道歉四重奏》。其中，《擬態》描繪臺灣對外來文化的模仿學習，《假磚》批判臺灣的文化盜用行為，《寧視》、《道歉四重奏》則凸顯臺灣對他者的正向或負向歧視。通過當代文化論述，「自感良好的小吉至子」蘊藏的辯證性，將適度開展。大體而言，本論文著眼資本主義的全球化脈絡，思考文化帝國主義及其消費體系，與臺灣的社會文化產生什麼互動？本論文試圖說明，「自感良好的小吉至子」，呈現出一個多元而混雜的臺灣文化主體。

關鍵字

臺灣性；文化認同；擬態；文化盜用；歧視

並列摘要

The purpose of this thesis is to explore the Taiwaness. By creating the work “Self-confidence of Taiwanese : Koyoshi Itariko”, the thesis would express the cultural subjectivity of Taiwan. “Koyoshi Itariko” was named by selecting the characters “吉”& “至” from the traditional Chinese word “臺”, combining with gouache painting. “Self-confidence” stands for a phenomenon in Taiwanese culture. The work “Self-confidence of Taiwanese : “Koyoshi Itariko” transfers Taiwanese cultural phenomenon to a dialectic creation, including 4 collections, “Mimicry”, “Fake Brick”, “Gaze” and “Quartet”. “Mimicry” depicts the imitation and learning to foreign culture. The second collection “Fake Brick” criticizes the cultural plagiarism in Taiwan. “Gaze” and “Quartet” emphasize Taiwanese’s positive& negative discrimination to outsiders. The dialectic would be expanded through contemporary cultural discourse in the work “Self-confidence of Taiwanese : Koyoshi Itariko”. Generally speaking, this thesis focuses on capitalism in the context of globalization, discussing the interaction between Taiwanese social culture and the cultural imperialism with its consumption system. In this study, “Self-confidence of Taiwanese : Koyoshi Itariko” presents the diversity and hybridity of Taiwanese cultural subjectivity.