(此課程大綱為暫訂版，正確版以開學後社會系網站公告的版本為準)

現代繪畫運動在西方藝術史上構成了一次極為複雜而關鍵的改變，包括有別於古典風格的現代性精神展現、藝術場域自主性的形成，與傳統藝術典範之間的斷裂等變革，皆在十九世紀前後的藝壇上隆重登場。本課程將融入藝術社會學的觀點，並鎖定西方現代主義以降的視覺藝術作品，並以繪畫、雕塑領域為主，探討現代主義的藝術性，以及藝術的現代性，包括藝術領域如何逐漸在社會中及藝術界裡取得自主的地位，脫離舊有隸屬於其他社會部門的關係。這份自主性將創作者的主體性和時代性展現在作品當中。我們同時將探索現代主義作品內含的美學、主體性、社會性，以及整體的現代性精神。現代主義藝術的主體性至少指涉三個面向：一、藝術家作為個人的主體性; 二、藝術家作為獨立藝術家的主體性; 三、藝術及藝術場域作為自主領域的主體性。若納入藝術創作者以外的行動者，藝術的主體性尚可包括藝術史學家歷史觀點的主觀性，以及藝術評論者批評藝術家及作品時的主觀性。本學期處理的流派大約從印象派前夕到戰後抽象表現主義為止，礙於學期週數所限而無法窮盡所有風格派別。

為了對現代藝術史發展具備基礎的瞭解，主要讀本的選擇方面，邵大箴主編的《西方美術欣賞》與E.H.Gombrich的經典《藝術的故事》，將成為藝術史的基礎材料，佐以英國藝術史學家與哲學家Herbert Read （1893-1968）所著的 A Concise History of Modern Painting (現代繪畫史)作為教材。前者清楚提供藝術簡史，後者聚焦於現代繪畫的學術闡述：Read特重現代藝術史上思想觀念的演進，以及藝術發展的前後呼應關係。即使作者難免依照主觀意見，將某些藝術家與畫派納入或排除於著作之外，然而這些特殊觀點及其背後的理論依據，皆可形成課堂上討論的議題。

學界少見全然符合本科目旨趣的既定書目，因此課程大綱所條列的讀本及參考書目，主要是為了幫助學生建立相關知識基礎，教師將額外從多元文獻中整理製作PPT及文本講綱，讀本並非定於一尊。課堂裡整合傳授的知識與討論的內容，都將納入期中／期末考試的範圍。學生因此務必出席每堂課程、參與討論，並非考前獨自閱讀文本所能應付。為了培養學生的思考與表達能力，考試皆以申論題形式進行測驗，學生應結合藝術史、美學、社會學等跨領域的思維，形成自己對於藝術作品獨到的見解。除了課堂上教師的講演之外，也將安排專題演講活動。學生平日表現以及出席狀況，都將納入評分內容，教師保有加減學期總分數的權限。

(This course syllabus is a tentative version, the correct version shall be subject to the version announced on the website of the Department of Social Sciences after the semester starts)

The modern painting movement constituted an extremely complex and crucial change in the history of Western art, including the manifestation of the spirit of modernity that was different from the classical style, the formation of the autonomy of the artistic field, and the break with traditional art models. These changes all made their grand debut in the art world around the 19th century. This course will integrate the perspective of art sociology and focus on visual art works since Western modernism, focusing on the fields of painting and sculpture. It will explore the artistry of modernism and the modernity of art, including how the art field gradually gains an independent status in society and the art world, breaking away from the old relationship of being subordinate to other social departments. This autonomy shows the creator's subjectivity and contemporary nature in the work. We will also explore the aesthetics, subjectivity, sociality, and the overall spirit of modernity contained in modernist works. The subjectivity of modernist art refers to at least three aspects: 1. The subjectivity of the artist as an individual; 2. The subjectivity of the artist as an independent artist; 3. The subjectivity of art and the art field as an independent field. If actors other than art creators are included, the subjectivity of art can also include the subjectivity of art historians’ historical perspectives, as well as the subjectivity of art critics when criticizing artists and works. The genres dealt with this semester roughly range from the eve of Impressionism to post-war Abstract Expressionism. Due to the limited number of semester weeks, it is not possible to exhaust all stylistic factions.

In order to have a basic understanding of the development of modern art history, the main selection of reading materials is "Appreciation of Western Art" edited by Shao Dazhen and E.H. Gombrich's classic "The Story of Art", which will become the basic materials of art history, accompanied by A Concise History of Modern Painting (History of Modern Painting) written by British art historian and philosopher Herbert Read (1893-1968) as a teaching material. The former clearly provides a brief history of art, while the latter focuses on the academic elaboration of modern painting: Read focuses on the evolution of ideas in the history of modern art and the echoes of artistic development. Even if the author inevitably includes or excludes certain artists and painting schools from the work based on his subjective opinions, these special views and the theoretical basis behind them can form topics for discussion in class.

It is rare in the academic world to have a set list of books that fully meet the purpose of this subject. Therefore, the readings and reference books listed in the course syllabus are mainly to help students establish a relevant knowledge base. Teachers will also compile and produce PPT and text lectures from multiple literatures. The readings are not limited to one. The knowledge imparted and discussed in class will be integrated into the midterm/final exams. Therefore, students must attend every class and participate in discussions, which is not something they can handle by reading the text alone before the exam. In order to cultivate students' thinking and expression abilities, the exams are all conducted in the form of essay questions. Students should combine cross-field thinking such as art history, aesthetics, sociology, etc. to form their own unique insights into works of art. In addition to lectures by teachers in the classroom, special lectures will also be arranged. Students' daily performance and attendance status will be included in the scoring content, and teachers retain the authority to add or subtract the total semester score.

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Herbert Read, [1985], c1974, A Concise History of Modern Painting. New York, N.Y. : Thames and Hudson : Distributed by Norton. (中譯本: 赫伯特‧里德著，李長俊譯，《現代繪畫史》。臺北：大陸書店。1987)

Gombrich, E.H.著，雨云譯，2012，《藝術的故事》(The Story of Art)。第五版。臺北：聯經。

邵大箴主編，汪曉青校訂，2002，《西方美術欣賞》。臺北：五南出版社。

弗蘭契娜 (Frascina, Francis)著，張堅、王曉文譯，1988，《現代藝術和現代主義》(Modern art and modernism : a critical anthology)。上海市 : 上海人民美術出版。

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Herbert Read, [1985], c1974, A Concise History of Modern Painting. New York, N.Y.: Thames and Hudson: Distributed by Norton. (Chinese translation: written by Herbert Read, translated by Li Changjun, "History of Modern Painting". Taipei: Continental Bookstore. 1987)

Gombrich, E.H., translated by Yuyun, 2012, "The Story of Art". Fifth edition. Taipei: Lianjing.

Editor-in-chief Shao Dazhen, edited by Wang Xiaoqing, 2002, "Appreciation of Western Art". Taipei: Wunan Publishing House.

Frascina, Francis, translated by Zhang Jian and Wang Xiaowen, 1988, "Modern art and modernism: a critical anthology". Shanghai: Shanghai People's Fine Arts Publishing House.