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ロックウェル作品と20世紀前半の視覚表現スタイルを取り巻く「対立」の言説・政治
https://chuo-u.repo.nii.ac.jp/records/16773
https://chuo-u.repo.nii.ac.jp/records/16773d7da1a26-28f4-4148-ae32-49dc824d3df7
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
本文を見る (494.2 kB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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| 公開日 | 2022-10-18 | |||||
| タイトル | ||||||
| タイトル | ロックウェル作品と20世紀前半の視覚表現スタイルを取り巻く「対立」の言説・政治 | |||||
| タイトル | ||||||
| タイトル | Norman Rockwell and Dichotomous Discourses on Visual Representation in the First Half of the 20th Century | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| 著者 |
山城, 雅江
× 山城, 雅江 |
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| 著者別名(英) | ||||||
| 識別子Scheme | WEKO | |||||
| 識別子 | 31010 | |||||
| 姓名 | YAMASHIRO, Masae | |||||
| 言語 | en | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Focusing on the works of Norman Rockwell, this paper examines the political and social implications of the “realist/abstract” dichotomy that emerged in the discourses on art from the early 20th century to the 1960s. Paying particular attention to The Connoisseur, which appeared on the cover of The Saturday Evening Post in 1962, the paper first reviews the complex relationship between Rockwellʼs work, “modern art,” and the art system of the time. Turning to the social implications of the reactions to the cover work, the article then examines the dichotomous discourses on styles of visual expression and how the social and political realms become intertwined with aesthetics in the first half of the 20th century. Amidst the economic and social turmoil associated with modernization and the growing social unrest during this period, the emerging discourses on “realism” and “modern art” in popular magazines such as The Saturday Evening Post and Time were based on enemy/ally logic. According to the aesthetic nativism and socially conservative views of these publications, artistic modernism was effectively labeled “un-American.” However, after World War II Abstract Expressionism started to dominate the art world for various reasons from being “a weapon in the Cold War” to a new form of investment, which led to the formation of a new hierarchy of art. As the “modernist” theories became increasingly institutionalized, simultaneously stigmatizing realism as retrograde, class related issues, such as the distinction between the “general public” and the “artistic/intellectual elite,” or “middlebrow” and “highbrow,” became increasingly visible. While/because Abstract Expressionism became a part of the establishment in the 50-60s, the “general public,” especially those in the heartland, remained resolutely opposed to “modern art.” Overall, this paper seeks to contextualize Rockwellʼs works in relation to the artistic struggle for “true American expression” and the polarized perceptions that underlie American society. | |||||
| 書誌情報 |
英語英米文学 巻 61, p. 75-99, 発行日 2021-02-26 |
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| 出版者 | ||||||
| 出版者 | 中央大学英米文学会 | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 0286-7710 | |||||
| 権利 | ||||||
| 権利情報 | この資料の著作権は、資料の著作者または学校法人中央大学に帰属します。著作権法が定める私的利用・引用を超える使用を希望される場合には、掲載誌発行部局へお問い合わせください。 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | application/pdf | |||||
| 著者版フラグ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
