男人語彙的創作研究

Research on the private side of Masculinity

尤瑋毅(Wei-Yi YU)

指導教授 ： 黃進龍

國立臺灣師範大學/藝術學院/美術學系/碩士(2011年)

摘要

男人語彙創作研究主要是在探討台灣當代社會下的男人，在面對生活環境裡的各種束縛與壓迫時，一般在陽剛外表下的個性總是習慣以強硬、抵抗與不願屈服的硬態度來做回應，但當身處於隱私空間時，其實男人內心裡的徬徨與無助則會以另一種自我形象出現，此種形象看似仍是陽剛，其實也充滿陰柔特質，這是調節外在衝突下所產生的內在失衡，這是種潛意識下的行為反應。這種陰柔特質到了近年來更有外顯於男性表徵的普遍趨勢出現。
此創作研究共有兩個系列作品，第一個「廁所文化」: 是用一種紀錄和披露的手法，將台灣從過去到現在一直以來自認為生存於剛強外殼保護下的男人，在處於屬個人空間的私領域-廁所時，會自然地卸下心防從事著許多不敢表露於外的行為，而這種赤裸的自我坦白除了外在陽剛的顯現，其實也充滿了陰柔的內在呈現。第二「彩虹文化」: 是描繪口腔在用力飲食時的激烈狀態下的口部表情，並進食著總被認為帶有濃厚性象徵意涵的水果 - 香蕉，畫面自然地讓人聯想到男性陰性特質或是男同性戀的傾向。兩系列作品均運用近距離的鏡頭視觀，類窺視隱私創作手法所呈現出來的畫面，雖然有情色藝術裡的一種性暗示，但是畫中的人物卻清一色都是以男性為主體，這與以往習慣將女體作為裸體描繪對像的觀看氛圍有所不同，也讓同樣身為男性的觀者會出現一種似曾相識的衝動。
本研究論文第一章「緒論」，是關於創作研究之動機、目的、範圍與理念，以及關鍵名詞解釋的部分。第二章「創作學理基礎」，是以佛洛伊德的性心理分析、拉岡的結構主義精神分析學、潘諾夫斯基的圖像學作為研究的學理基礎，進而談論台灣情色與藝術之分野，從中探討台灣人眼中對於情色藝術之分界，更從大眾傳播電視廣告來看台灣情色文化。
第三章「台灣男性之創作理念」，以前章學理來研究台灣當代男性性格為基礎，主要是分析台灣男性是如何從早期父權體制下所形成男性性別意識下的壓迫與束縛，而轉換成男性陰柔的特質出現。
第四章「創作研究之內容、形式、技法與媒材」，以廁所文化系列及彩虹文化系列作品的分類做說明，進而針對兩系列作品內容、形式表現、使用技法、媒材來作分析。第五章「作品解說」，是將作品的創作過程與欲傳達背後理念作出說明。
第六章標題「結論」，個人創作成果分享，以及對作品態度與期許。

關鍵字

私領域 ； 同性戀 ； 窺視 ； 性暗示

並列摘要

The research is a study of “Research of the Masculine” which discusses Taiwanese men in the modern society. When men faced many kinds of fetter and oppression from their living environment, they generally represented with hard and strong manner, and tried to resist back. However, when they place themselves in a privacy area, they also feel hesitate and helpless, and their innermost feelings will appear in another kind of self-image. Although this kind of image still looks tough and strong, the male characteristic is actually filled with femininity. Therefore, this is an adjustment of external behavior which causes their inner-unbalanced. In recent years, this kind femininely characteristics have become more commonly appearing among the masculine men.

This research focus on two series of works: first, “Restroom Culture” is one kind of record and a disclosure technique. From the past to the present, when a tough man was alone by himself in a private area – restroom, he would change and perform the way that he would never showed outside. He was not just showing the external toughness, but also filled with femininity. Second, “Rainbow Culture” is describing an expression of mouth eating fruit and the fruit is usually considered as a symbol of sex – banana. The painting allows the audience to consider about the male-female characteristic, and refers to the male homosexuality. These two series of works are regarded to the view of using the short distance lens, and are represented the peeps to the privacy through the painting, Although the painting is an erotic art and contains the meaning of natural suggestion, the main characters in the painting is actually uniformed with the males. This was used differently compare to the naked female body, this also will let the males feel the impulsion which they seem to have seen it before.
In the first chapter: Introduction. It narrates the motive, the purpose and the scope, and idea of the research, and explanation of vocabularies. The second chapter, “the foundation of creation and scientific theory”, is based on the Sigmund Freud’s the natural psycho-analysis, Lacan’s structuralism psycho-analysis, and Erwin Panofsky’s image study. The third chapter, “study of Taiwanese men - from the oppression to the transformation”, this is mainly to analyze how Taiwanese males under the condition of the oppression and the fetter transform from the masculine to the feminine characteristic. The fourth chapter, “the creation and research of content, form, technique and the intermediary material”, makes the analysis on the view of the work content, the formal expression, the use of technique, the intermediary material. The fifth chapter, “the explanation of the art work”, is to make the explanation of the work process, and the idea behind the creation. The sixth chapter, “conclusion,” shares the personal achievement and the expectation for the future.

並列關鍵字

private area ； homosexuality ； peep ； Natural suggestion

參考文獻

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