「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 can just do art"──Gao Ying, mother of Chinese artist Ai Weiwei.
"Art must be political (Kunst muss politisch sein)"─Artur Żmijewski, curator of the 2012 Berlin Biennale.
Ms. Gao Ying’s words reveal a mother’s distress and worry about her child’s involvement in politics; curator Żmijewski is a Polish video artist.
It points out the inseparable nature of contemporary art and politics. Politics and art, these two things that are taken for granted in Eastern culture "let art belong to art,
The areas that seem to be polar opposites in the call for "the return of politics to politics" actually have always been ambiguous and difficult to cut off in the development of Western art history.
entangled. In the creation and expression of artistic works, political connotations can often be seen, either explicitly or implicitly. Sometimes it takes the form of class, sometimes
Appearing in the solemnity of the palace; sometimes it is the memory of the past, sometimes it is the longing for the future; as for when encountering war, it may be fierce, or sad and mourning,
All have left eternal witnesses in their works of art.
The goal of this course is to analyze how certain works of art in history are embedded in political contexts and become powerful levers, sometimes used by those in power.
It becomes a tool to legitimize their regime; sometimes it is used by the governed as a tool to criticize the powerful. This course will mainly use the method of "image analysis"
Explore the image messages and political connotations in art works, analyze and interpret the symbols and motivations in art 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。
General courses are different from professional courses. They actually focus on guiding students to actively care for, explore and practice the ultimate value and wisdom of mankind. At the same time, the knowledge provided by general courses is not the superficiality of professional courses, but basic knowledge with a solid sense. . Based on the school’s founding tradition, school motto and school philosophy, the school has formulated four basic qualities for general education: truth-seeking quality, belief quality, practical quality and general quality, in order to concretely implement the school’s ideals of general education. We hope that our students can develop their independent learning spirit and gradually develop their basic literacy in general education under the guidance of general education teachers, and look forward to lifelong learning. Each basic literacy has specific learning effectiveness indicators for self-examination of teaching and learning effectiveness, which are described below: Truth-seeking literacy (natural field): 1. Learn the methods or philosophy of natural science to explore physics and the subtleties of the living world, 2. Use the spirit of discussing matters as they are, 3. Be able to participate in public affairs related to scientific issues. Belief literacy (humanities field): 1. Learn the humanistic spirit to explore the inner self and understand the deep value of human civilization, 2. Develop self-discipline, 3. Be able to use rationality for moral reasoning. Practical literacy (social field): 1. Use social science methods or philosophy to stimulate students' listening and communication skills, 2. Recognize and respect diversity, 3. Practice the spirit of democratic deliberation. Hongtong literacy (cross-field): 1. Pursue the overall value of human beings, 2. Integrate qualities such as truth-seeking, faith, and practice into personal life. Courses in various fields can choose from different learning outcome indicators, so there is no need to be rigid.
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 in German and there is no Chinese translation. The instructor will choose to translate some content related to this course. Discuss with classmates)
Written by Hugh Honor and John Fleming, translated by Wu Jiezhen and others: "History of World Art". Taipei: Trojan Culture, 2001.
Written by Walter Benjamin, translated by Xu Qiling: "Art Works in the Age of Mechanical Reproduction (1936)", "Toward the Age of Fading Aura". Taipei: Taiwan Photography Studio, 1999, pp. 57-119.
Written by Peter Burke, translated by Xu Shounan: "The Making of Louis XIV". Taipei: Wheatfield Publishing Company, 1997.
Written by Peter Burke, translated by Yang Yu: "History of Image Evidence". Beijing: Peking University Press, 2008.
Written by Pierre Assouline, translated by Xu Zhenfeng: "Cartier-Bresson: A Moment in the Century". Taipei: Trojan Culture, 2012.
Written by Leni Riefenstahl, translated by Ding Weixiang and others: "Lani. Lefenstein's Memoirs. Taipei: Left Bank, 2009.
Written by Daniel Liebeskind, translated by Wu Jiaheng: "Light and Shadow Dance on Stone: Memoirs of the Architect Liebeskind". Taipei: The Times, 2006.
Carol Duncan, translated by Jacob Wang, "Civilizing Rituals: Inside the Public Art Museum", Taipei: Yuanliu, 1998.
Written by Linda Nochlin, translated by Diao Xiaohua: "Realism". Taipei: Yuanliu, 1998.
Written by Lucy R. Lippard, translated by Zhang Zhengren: "Pop Art". Taipei: Yuanliu, 1995.
Written by H. W. Janson, translated by Zeng Yu and Wang Baolian: "History of Western Art" (four volumes in total). Taipei: Young 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 |
