| “叙事具象”派别涌现在20世纪60年月二战后的法国，在阅历了第二次世界年夜战的袭击今后，世界艺术中间曾经由巴黎转向了美国纽约。具有欧洲贵族认识的法国人仍然思念巴黎已经的光辉，法语论文，一向以来，他们都在尽力寻觅着本身的定位。而“叙事具象”的涌现，明显是对美国“霸权”下的笼统类绘画的一次回击，也是“波普艺术”国际化语境下的一次特性化的测验考试。本文经由过程对“叙事具象”及相干艺术派别的剖析与梳理，将二战后法国的艺术状况“具象”化处置，出现出“巴黎方位”的摸索陈迹。本文的研究从五个方面停止阐述。第一部门为研究综述，包含国际外对“叙事具象”的研究状态、与研究主题相干的其他艺术派别、和论文选题和研究办法的解释。第二部门侧重对“叙事具象”的产生、成长、相干概念及代表性艺术家停止分类引见。第三部门是与“叙事具象”相干的概念界定，另将统一时光段产生在法国外乡的派别与研究主题停止比拟剖析。第四部门分离将产生在美国、对“叙事具象”的产生、成长发生主要作用的“笼统表示主义”和“波普主义”与之停止重点比拟剖析。而最初一部门则是笔者在上述研究基本上，对“叙事具象”艺术家追求“巴黎方位”的一些思虑。本文在最初确定了“叙事具象”派别在追求本身奇特性的进程中所做出的测验考试，法语论文题目，而“巴黎的方位”却依然是法国艺术家们须要持续探访的永久性成绩。 Abstract: "Narrative figuration" Chung factions now in the 20th century, 60 years after World War II of France, in the experience of the attack of the Second World War in the future, in the middle of the art world once from Paris to New York. With understanding of the European aristocracy of the French still miss Paris has the glorious. Traditionally, they are trying to find a location. And emergence of "narrative figuration", it is obvious that the American "hegemony" general painting of a return stroke, is "pop art" in the context of internationalization of the characteristics of the test. In this paper, through the process of "narrative figuration" and coherent analysis and combing of artistic faction, in France after the Second World War the art of "concrete" disposal, showing traces of groping for the range in Paris. The research of this paper is discussed from five aspects. First part is the summary of the research, including home and abroad of "narrative figuration" coherent theme of discussion and research status of other artistic faction, and thesis topics and research methods of interpretation. The second part of the focus of "narrative figuration" formation, growth, coherent concept and representative artists classification introduced. The third sector is and "narrative figuration" definition of the concept of the coherence, another will be unified time produced in France, the local factions and the research theme of a comparative analysis. The fourth division will be generated in the United States, "narrative figuration" birth, growth have an important impact on the "general said doctrine" and "pop" and stop the focus on comparative analysis. And the first part is on the basis of the above study, author of "narrative figuration" artists to pursue some consideration of "the orientation of Paris". In this paper, in the first to determine the "narrative figuration" factions in the pursuit of the singularity itself characteristics in the process of examination, and the "range of Paris" is still French artists need continued to visit the permanent results. 目录: 摘要 4-5 英文摘要 5 绪论 12-14 第一章 探讨综述 14-19 一、对法国“叙事具象”流派的探讨 14-15 二、与本文相关的艺术流派探讨 15-16 三、选题与探讨措施说明 16-19 第二章 法国“叙事具象”流派 19-32 一、“叙事具象”的最初出现 19-23 二、什么是“叙事具象” 23-24 三、代表艺术家及其著作 24-29 四、几个关键词——连环画、电影、政治 29-32 第三章 相关流派的概念界定及比较探讨 32-42 一、有关具象的概念 32-36 二、发生环境：与法国本土相关流派的比较 36-42 第四章 遥远的美国——与相关流派的重点比较 42-54 一、“叙事具象”与“抽象表现主义” 42-46 二.“叙事具象” 与“波普艺术” 46-54 第五章 寻找“巴黎的方位” 54-58 一、“叙事具象”的尝试 54-55 二、市场的低迷 55-56 三、延续 56-58 结语 58-60 主要参考文献 60-63 附图 63-72 致谢 72-73 附录:攻读硕士学位期间发表的学术论文目录 73 |
