| Summary: | 碩士 === 國立高雄師範大學 === 美術學系 === 99 === The aim of the thesis attempts to explore the thought contents and features that Gilles Deleuze’s Francis Bacon: the Logic of Sensation (1981) practices. This will be further examined:
First, the author attempts to discuss the art and aesthetic problems that Deleuze’s discussion on Francis Bacon’s paintings touches upon, which will then be examined in three lights: 1) what is the “logic of sensation” that Deleuze suggests? How is it formed? 2) the focus upon Bacon’s process of creation within the discourse of Deleuze as well as Bacon’s art approach of anti-perception; and 3) the strategy and function that link this book and the art history.
Second, the thesis begins by discussing whether Deleuze’s Francis Bacon deterritorializes the limit of painting and then, analyzes the epistemological approaches underlying his book. Based on the concepts created in his corpus and the dispositif of his vocabulary, the thesis attempts to conceptualize the width that the epistemological realm he creates can extend. By so doing, the thesis attempts to trace the purpose of Deleuze’s writing.
Last, the theoretical resources accumulated from the above two parts will be then linked to build a dialogue with Deleuze’s thought. By discussing why Deleuze chose painting the genre and then analyzing the singularity of Bacon’s painting to his philosophy, the author attempts to grasp the relationship between Deleuze’s discussion on Bacon’s painting and his thought. By illuminating the theoretical traces from the aesthetics to philosophy, the author discovers the features and values from Deleuze’s discussion on Bacon’s painting.
|
|---|
