| Summary: | 碩士 === 臺北市立教育大學 === 視覺藝術研究所 === 94 === Louis Bourgeois (1911~) is one of the most important American female artists. With the end of the disguise lasted for decades, Louis Bourgeois had eventually revealed the pressure she suffered in the past within her patriarchal family; explored unconsciously her fear shaped by violence and injury in her memory and transformed the fear into remarkable artworks. After accentuated the relationship between vision and authority, Bourgeois investigated the confrontation of the both genders by means of art creations, also through the art creations she mended her relationship to her mother, and retrieved the identity as a female. The creations of Bourgeois after 1970s are full of intense gender consciousness. The artist broke through the limitations of the framework defined by gender and authority; uttered sounds with varied materials and inspired numerous silent females. She is an essential character to contemporary arts.
In this dissertation, the theories and viewpoints of Sigmund Freud and Jacques Lacan regarding patriarchal relationships, and those of Julia Kristeva and Luce Irigaray regarding mother-daughter relationships are utilized to investigate the personal backgrounds concerning the creations of Louis Bourgeois. Moreover, the theory of Hélène Cixous regarding “Ecriture Feminine” (feminine writing), and that of Luce Irigaray regarding “Speculum” provide a method to investigate the creations of Louis Bourgeois a step further. The investigation begins from the standpoint of Existentialism, Louis Bourgeois queried the relative positions of “looking”; under the influence of the ideological trend regarding “deconstruct”, the theories of Walter Benjamin and Gilles Deleuze are utilized to investigate the topic regarding identity issues of the creations of Louise Bourgeois.
|
|---|
