「希望他只搞藝術就好」── 中國藝術家艾未未的母親高瑛。
「藝術必須是政治的（Kunst muss politisch sein）」── 2012年柏林雙年展策展人Artur Żmijewski。
高瑛女士的話流露出一位母親對孩子涉入政治的心疼與擔憂；本身為波蘭籍錄像藝術家的策展人Żmijewski
則指出了當代藝術與政治之不可切割的本質。政治與藝術，這兩個在東方文化習以為常的「讓藝術的歸藝術、
政治的歸政治」呼聲中看似乎南轅北轍的領域，其實在西方藝術歷史的發展上一直有著曖昧而難以截然切割的
糾纏。藝術作品的生成與表現當中，時常可見政治意涵或明顯或內隱的寄寓其間。有時形之於階級的樣貌、有時
顯現於殿堂的莊嚴；有時是對過去的緬懷，有時是對未來的想望；至於遭逢戰爭時，或剽悍勃發，或哀傷慟悼，
都在藝術作品裡留下了千古的見證。
本課程目標主在分析歷史上的若干藝術作品如何嵌於政治的脈絡之中，成為有力的憑藉，有時是為當權者所用，
成為正當化其政權的工具；有時是為受統治者所使，成為批判強權的利器。本課程主要將以「圖像分析」的方法
探索藝術作品中的圖像訊息及政治意涵，分析解讀藝術作品中的符號與動機，展開一場「藝術與政治」的發現之旅。"I hope he only does art" - Gao Ying, the mother of Chinese artist Ai Weiwei.
"Art must be political (Kunst mus politisch sein)" - Artur Żmijewski, curator of the 2012 Berlin Double Annual Exhibition.
Ms. Gao Ying's words reveal a mother's distress and grievance about her child's involvement in politics; she is the curator of the Polish-based record artist.
It points out the inseparable nature of contemporary art and politics. Politics and art, these two common "artistic art that allows art" in Eastern culture,
The political theory of politics seems to be in the voice of the Southern and Northern Heritage, but in fact, there has always been a vague and difficult to completely cut off in the development of Western artistic history.
Fighting. In the generation and expression of artistic works, political implications can often be seen, either explicitly or implicitly contained. Sometimes the appearance of the shape is at the level, sometimes
It appears to be the harshness of the palace; sometimes it is the worries of the past, sometimes it is the desire for the future; as for the war, it may be arrogance or mournful,
All of them have left behind eternal evidence in artistic works.
The purpose of this course is to analyze how several artistic works in history are embedded in the political fraternity and become powerful connotations, sometimes for the authoritatives.
It becomes a tool to justify its political power; sometimes it is used by those under the rule, and it becomes a weapon to criticize power. This course will mainly use the method of "image analysis"
Explore image messages and political implications in artistic works, analyze and interpret symbols and animations in artistic works, and embark on a journey of discovery of "art and politics".
通識課程不同於專業課程，實乃著重引導學生主動關懷、探索與實踐人類的終極價值與智慧；同時通識課程所提供的知識，不是專業課程的淺薄化，而是具有厚實感的基礎知識。本校根據創校傳統、校訓與辦學理念訂定通識教育定四大基本素養：求真素養、篤信素養、力行素養與宏通素養，以具體落實本校通識教育之理想。希望本校學生能發揮自主學習精神，在通識課程老師的引導下，逐漸培養其通識教育基本素養，並期待能終身學習。各種基本素養並訂有具體的學習成效指標，以做教學與學習成效之自我檢證的具體指標，分述如下：求真素養（自然領域）：1.學習自然科學的方法或哲學以探索物理與生命世界的微妙，2.發揮就事論事的精神，3.能參與科學議題相關的公共事務。篤信素養（人文領域）：1.學習人文精神以探索內在自我與領會人類文明的深層價值，2.發展自律精神，3.能運用理性進行道德推理。力行素養（社會領域）：1.運用社會科學的方法或哲學以激發學生的傾聽與溝通能力，2.承認與尊重多元差，3.實踐民主審議的精神。宏通素養（跨領域）：1.追求人類的整體價值，2.融通求真、篤信、力行等素養於個人生命之中。各領域的課程對於學習成效指標可以跨選，不必拘泥。
The general course is different from the professional course, and it focuses on guiding students to actively care, explore and understand the ultimate value and wisdom of human beings. At the same time, the knowledge provided by the general course is not the purity of the professional course, but the basic knowledge with a strong sense of reality. Our school has established four basic qualities for general education based on the concept of creating school traditions, school training and management: seeking truth, trustworthiness, striving for general education, and implementing the ideal of general education in our school in a specific way. I hope that students of this school can develop the spirit of independent learning, and under the guidance of general course teachers, they will gradually cultivate their basic qualities of general education, and look forward to finally learning. Various basic qualities are cultivated and have specific learning effectiveness indicators to serve as self-verification indicators for teaching and learning effectiveness. They are divided into the following: Truth-seeking and nourishing (nature domain): 1. Learn the methods or philosophy of natural sciences to explore the subtleties of physics and the world of life, 2. Develop the spirit of doing things, 3. Be able to participate in public affairs related to scientific topics. Relief and nourishment (humanity field): 1. Learn the humanistic spirit to explore the deep value of inner self and leading human civilization, 2. Develop self-discipline spirit, 3. Be able to use rationality to conduct moral reasoning. Practice and cultivate (social field): 1. Use social science methods or philosophy to stimulate students' listening and communication skills, 2. Accept and respect for diversity and differences, 3. Realize the spirit of democratic review. Hongtong basic cultivation (cross-domain): 1. Pursuing the overall value of human beings, 2. Integrating truth-seeking, trustworthiness, and action in personal life. Courses in various fields can be selected across learning performance indicators without being restricted.
Uwe Fleckner / Martin Warnke / Hendrik Ziegler (Hgg.): Handbuch der politischen Ikonographie, Munchen: C.H.Beck 2011, 2 Bde（原文為德文，尚無中文譯本，授課教師將擇要翻譯與本課程相關之部分內容與同學共同討論）
Hugh Honour、John Fleming著，吳介禎等譯：《世界藝術史》。台北：木馬文化，2001。
Walter Benjamin著，許綺玲譯：〈機械複製時代的藝術作品（1936）〉，《迎向靈光消逝的年代》。台北：台灣攝影工作室，1999，頁57-119。
Peter Burke著，許綬南譯：《製作路易十四》。台北：麥田出版公司，1997。
Peter Burke 著，楊豫譯：《圖像證史》。北京：北京大學出版，2008。
Pierre Assouline著，徐振鋒譯：《卡提耶─布列松 世紀一瞬間》。台北：木馬文化，2012。
Leni Riefenstahl著，丁偉祥等譯：《蘭妮．萊芬斯坦回憶錄》。台北：左岸，2009。
Daniel Liebeskind著，吳家恆譯：《光影交舞石頭記：建築師李伯斯金回憶錄》。台北：時報，2006。
Carol Duncan著，王雅各譯，《文明化的儀式: 公共美術館之內》，台北：遠流，1998。
Linda Nochlin著，刁筱華譯：《寫實主義》。台北：遠流，1998。
Lucy R. Lippard著，張正仁譯：《普普藝術》。台北：遠流，1995。
H. W. Janson著，曾堉、王寶蓮譯：《西洋藝術史》（共四冊）。台北：幼獅文化，1984。
Uwe Fleckner / Martin Warnke / Hendrik Ziegler (Hgg.): Handbuch der politischen Ikonographie, Munchen: C.H.Beck 2011, 2 Bde (The original text is German, and there is no Chinese translation. The teacher will discuss with his classmates the content that needs to be translated and discussed with his classmates)
By Hugh Honour, John Fleming, Wu Jieting, and other translations: "History of World Art". Taipei: Muma Culture, 2001.
Walter Benjamin, translated by Xu Ling: "Artworks from the Age of Mechanical Copying (1936), "Emerging to the Age of the Descent of Spirit". Taipei: Taiwan Photography Studio, 1999, pages 57-119.
Written by Peter Burke, translated by Zhu Nan: "Making Louis XIV". Taipei: Maitian Publishing Company, 1997.
Written by Peter Burke, translated by Yang Yu: "History of Images". Beijing: Published by Beijing University, 2008.
By Pierre Assouline, translated by Xu Zhenfeng: "Catie-Bresson A Moment of the Century". Taipei: Muma Culture, 2012.
Written by Leni Riefenstahl, translated by Ding Weixiang and others: "Lanni." Lefenstein's Recalling. Taipei: Left Bank, 2009.
By Daniel Liebeskind, translated by Wu Jiahen: "The Stone Head Dance of Light and Shadow: The Recalling of Architect Li Boskin". Taipei: Time, 2006.
Carol Duncan, by Jacob Wang, "The Civilization of the Ceremony: Inside the Public Art Museum", Taipei: Far, 1998.
By Linda Nochlin, translated by Diao Xiaohua: "Writing the Immortality". Taipei: Far, 1998.
By Lucy R. Lippard, translated by Zhang Zhengren: "Public Art". Taipei: Far, 1995.
Written by H. W. Janson, translated by Zeng and Wang Baoli: "History of Western Art" (a total of four books). Taipei: Lion Culture, 1984.
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 課程出席及參與表現課程出席及參與表現 Course attendance and participation performance |
40 | |
| 期末考期末考 Final exam |
60 |
