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【作者】 王燕飞；

【导师】 邵大箴；

【作者基本信息】 中央美术学院 ， 美术学， 2007， 博士

【摘要】 本文以20世纪上半期西方女艺术家自画像为研究对象，中心任务是探讨在20世纪上半期特定的历史条件下，面对既定的自画像传统与以男性为默认性别的“艺术家神话”，面对以男性为主导的现代艺术圈，女艺术家们是如何在自画像中进行自觉的形象“重塑”，为了进入艺术史而对艺术家神话，对主流现代艺术结构进行积极干预的。本文采用以理论为纲，以史料与作品为据的研究方法，试图从一些全新的角度对这一时期的女艺术家自画像作一个较为深入的分析。本文以法国学者米歇尔．德塞都的“战术”理论为贯穿全文的主线，以20世纪上半期女画家自画像中采用的五种主要“战术”为依据将这些自画像分成五大类进行讨论。这五种“战术”的理论依据分别是：巴赫金的“狂欢”理论，后结构主义的“挪用”理论，琼．瑞维尔的“假面”理论，女性主义与精神分析学派的“身体”理论，后结构主义的“解构”理论。论文的结语部分对于这些自画像对呈现、对艺术世界、对主流现代艺术的干预进行了总结，并讨论了它们对当代艺术史写作、艺术批评与艺术理论写作的启发作用。更多还原

【Abstract】 The present thesis studies the self-portraits of woman artists in the first half of the 20th century. It aims to explore how the woman artists, confronted with an established self-portrait tradition, a male-dominated modern art world, and the "myth of the artist" with "male" as its implied sex, managed to "re-image" themselves by resorting to self-portraits and thus exerting their positive interventions in the configurations of "the myth of the artist", the mainstream modern art and art history as such. The thesis attempts to conduct original and penetrating analyses of these self-portraits by combining theoretical analyses with studies of historical literature and individual works. It uses French scholar Michel de Certeau’s theory of "tactics" as the main thread, and divides these self-portraits into five main categories according to the various "tactics" adopted. The theoretical basis of each tactics is, respectively, Bakhtin’s theory of carnivalism, the post-structuralist theory of appropriation, Jean Rivere’s theory of masquerade, feminist and psychoanalytist theories of "the body", and the post-structuralist theory of deconstruction. The conclusion part of the thesis summarizes these self-portrait’s interventions into the artistic representation, the art world, and the mainstream modern art, and also reveals the inspiring insights they provide into the writing of art history, the art criticism and the art theory.更多还原