一、課程說明	從藝術史及其修訂版，檢討藝術史對女性之漠視及壓迫，耙梳視覺藝術發展中的
<br>陰性語彙。建構女性藝術的發展平台，開啟當代藝術之陰性特質。進而引導歷史發展的女性位置，
<br>檢視當代視覺藝術之性別認知，並建構存在環境之女性視覺語彙，以及美感認知。本課程將以十六
<br>週安排課程六個篇章：
<br>1.游擊女孩(Guerilla Girls)
<br>2.歷史篇 
<br>3.現代篇 
<br>4.後現代篇
<br>5.當代篇 
<br>6.台灣篇
<br>若因疫情無法上實體課，將會以 google meet 作為遠距教學的平台，並以 FB 課程群組為資料補
<br>充以及課後討論與問答。
<br>
<br>二、指定用書	
<br>《游擊女孩床頭版西洋藝術史》，游擊女孩著，謝鴻均譯，遠流出版，2000
<br>《她鄉女紀》閱讀女人的創作版圖，鄭至慧著，元尊文化出版, 1997
<br>
<br>三、參考書籍
<br>《女性主義與藝術歷史》（I＆II），Norma Broude, Mary D. Garard 編，謝鴻均等譯，遠流出
<br>版社，1998
<br>《藝術的魅力重生》，Suzi Gablik 著，王雅各譯，遠流
<br>出版，1998
<br>
<br>四、教學方式	
<br>將以每一個單元 ppt.檔作為課程講說與討論。
<br>	（敬請詳列每週課程內容：含主題、內容說明以及每週指定閱讀，越詳
<br>	細越佳）
<br>五、教學進度
<br>	週次	主題課程說明	
<br>	1	一、游擊女孩(Guerilla Girls) ：八零年洋藝術史》，游擊女孩
<br>                   指定閱讀《游擊女孩床頭版西
<br>	2	代至今紐約游擊女孩所拓展的女性自	
<br>		覺及其視覺紀錄。	著，謝鴻均譯，遠流出版，2000
<br>	3	二、歷史篇：他的故事與她的故事 (History and Her-story)
<br>                    1. 他的故事
<br>                       a.西洋繪畫中希臘神話的陰性解讀。 
<br>                       b.西洋繪畫以婚姻為籌碼的視覺意象
<br>        4           2. 她的故事
<br>        5           西洋歷史之希臘時期至中世紀的女性藝術蹤跡
<br>                       a.西洋繪畫之乳房視覺形象、仇恨女性的原型。
<br>                       b.西洋藝術表現之物化女體	
<br>                    閱讀：《女性主義與藝術歷史》（I＆II），Norma
<br>                     Broude, Mary D. Garard 編，謝鴻均等譯，遠流出版社
<br>        		
<br>	6	三、現代篇：現代主義女性特質的耙梳
<br>                    1. 超現實主義時期的女性藝術家及其藝術發展。
<br>        7               閱讀：《藝術的魅力重生》，Suzi Gablik 著，王雅各
<br>                               譯，遠流		
<br>        8            2. 二次世界大戰前後的女性藝術家及其藝術發展
<br> 
<br>		
<br>
<br>	9	四、後現代篇：後現代主義的女性藝術發展面貌
<br>                    1.八零年代美國女性藝術家及其藝術發展。
<br>                    2.八零年代歐洲女性藝術家及其藝術發展。
<br>                        閱讀《她鄉女紀》
<br>                        〈閱讀女人的創作版圖〉，鄭至慧著，元尊文化出版
<br>	10	五、當代篇：	
<br>	11	當代女性藝術的命題
<br>        12        1.	行為藝術
<br>        13        2.	觀念藝術
<br>                  3.	立體造型
<br>                  4.	數位媒體	
<br>                   閱讀：《女性笑聲的革命性力量──女性主義與當代 藝 術 》，Jo Anna                                           
<br>Isaak 著，陳淑真譯，吳介禛審定，遠流出版,
<br>2000
<br>		
<br>	14	六、台灣篇：女性藝術發展在台灣
<br>        15           1.前輩女性藝術家及其藝術發展。
<br>        16          2.六零年代至八零年代女性藝術家及其藝術發展。
<br>                   3.二十一世紀女性藝術家及其藝術發展。	
<br>                   閱讀：《陰性酷語》，謝鴻均著，藝術家出版社，2004
<br>			
<br>
<br>六、成績考核	
<br>課堂參與 20%（出席 10%、課堂發言 10%）
<br>期末報告 1,500~3,000 字 80%（創意 50%、心得 30%）
<br>不得缺席三次以上。
<br>
<br>七、講義位址
<br>http://	
<br>
<br>
<br>I syllabus: From the history of art and its revision, review the disregard and 
<br>oppression of women in art history, and sort out the gaps in the development of 
<br>visual art
<br>feminine vocabulary. Construct a platform for the development of female art and 
<br>open up the negative characteristics of contemporary art. And then guide the 
<br>position of women in the development of history,
<br>Examine the gender cognition of contemporary visual art, and construct the 
<br>female visual vocabulary and aesthetic cognition of the existing environment. 
<br>This course will be divided into sixteen
<br>There are six chapters in the weekly schedule:
<br>1. Guerilla Girls
<br>2. History
<br>3. Modern articles
<br>4. Postmodern
<br>5. Contemporary articles
<br>6. Taiwan
<br>If physical classes are not available due to the epidemic, google meet will be 
<br>used as a platform for distance learning, and FB course groups will be used as 
<br>supplementary materials
<br>Filling and after-class discussion and Q&A.
<br>
<br>II Reading
<br>"The Guerrilla Girls' Bedside Companion to the History of Western Art", 
<br>Guerrilla Girls, 1998
<br>"The Expanding Discourse: Feminism And Art History " (I & II), edited by Norma 
<br>Broude, Mary D. Garard, Routledge, 1992
<br>"The Reenchantment of Art",Suzi Gablik, Thomas and Hudson, 1995
<br> 
<br>
<br>III Syllabus
<br>The ppt. files of each unit will be used as lectures and discussions in the 
<br>course.
<br>(Please list the weekly course content in detail: including topics, content 
<br>desc<x>riptions, and weekly assigned readings, the more detailed
<br>thinner the better)
<br>VI Teaching progress
<br>Week Theme Course Desc<x>ription
<br>1 1. Guerilla Girls: A History of Foreign Art in the 1980s, Guerilla Girls
<br>Assigned Reading Guerrilla Girl Bedhead West
<br>Two Generations to the Present of New York's Guerrilla Girls Expanding Women's 
<br>Freedom
<br>perception and its visual record. Written, translated by Xie Hongjun, Yuanliu 
<br>Publishing, 2000
<br>3 II. History: His Story and Her-story (History and Her-story)
<br>1. His story
<br>a. The negative interpretation of Greek mythology in Western painting.
<br>b. The visual imagery of Western paintings using marriage as a bargaining chip
<br>4 2. Her story
<br>5 Traces of Female Art in Western History from the Greek Period to the Middle 
<br>Ages
<br>a. The visual image of breasts in Western paintings and the archetype of hatred 
<br>of women.
<br>b. ob<x>jectified female body expressed in Western art
<br>Read: Feminism and Art History (I & II), Norma
<br>Edited by Broude, Mary D. Garard, translated by Xie Hongjun, Yuanliu Publishing 
<br>House
<br>
<br>6 3. Modern Chapter: Combing the Femininity of Modernism
<br>1. Female artists and their artistic development during the Surrealist period.
<br>7 Read: The Glamorous Rebirth of Art, by Suzi Gablik, Jacob Wang
<br>Translate, Yuanliu
<br>8 2. Female artists and their artistic development before and after World War II
<br>
<br>
<br>
<br>9 4. Postmodern Chapter: The Development of Female Art in Postmodernism
<br>1. American female artists and their artistic development in the 1980s.
<br>2. European female artists and their artistic development in the 1980s.
<br>Read "A Girl from Another Country"
<br>"Reading the Creative Landscape of Women", written by Zheng Zhihui, published by 
<br>Yuanzun Culture
<br>10 V. Contemporary articles:
<br>11 Propositions of contemporary female art
<br>12 1. Performance art
<br>13 2. Conceptual art
<br>3. Three-dimensional shape
<br>4. Digital Media
<br>Read: The Revolutionary Power of Women's Laughter: Feminism and Contemporary 
<br>Art, Jo Anna
<br>Written by Isaak, translated by Chen Shuzhen, approved by Wu Jiezhen, published 
<br>by Yuanliu,
<br>2000
<br>
<br>14 6. Taiwan: The development of female art in Taiwan
<br>15 1. Senior female artists and their artistic development.
<br>16 2. Female artists and their artistic development from the 1960s to the 1980s.
<br>3. Female artists and their artistic development in the 21st century.
<br>Read: "Negative Cool Language", by Xie Hongjun, Artist Press, 2004
<br>
<br>
<br>V Evaluation
<br>Class Participation 20% (10% Attendance, 10% Class Presentation)
<br>Final report 1,500~3,000 words 80% (creativity 50%, experience 30%)
<br>No more than three absences are allowed.
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