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所在平台: Coursera |
课程主页: https://www.coursera.org/learn/visual-literary-culture-in-japan
课程评论：没有评论
课程名称：从图像出发的文字：19世纪日本的视觉与文学文化 概述：在追求“真实生活”的过程中，19世纪的日本画家、诗人、小说家和摄影师之间的合作方式，鲜有其欧洲同行探索。本课程为学习者提供机会，让他们更深入地理解19世纪日本艺术家的行为、道德标准以及周围的一些物质条件，从而更新我们对艺术“现实主义”的假设及其含义。学习者将获得清晰的认识，了解早期现代日本社会和个体是如何被构思和表现的。不同于当代西方艺术形式，尽管它们承认彼此作为“姊妹艺术”的共同渊源，但通常在体裁和话语上保持分隔，而日本的视觉和文学文化则倾向于结合，产生了以视觉图像为灵感的文学文本，以及附有诗歌和散文的视觉图像。理解这种视觉/文学文化的不可分割性，对深入领会日本艺术中蕴藏的社会和心理价值至关重要。 课程大纲： 1. **武士肖像** - 描述：探讨早期现代日本文学与视觉文化距离的一个好方法是研究画家和诗人如何描绘他们的 contemporaries，尤其是武士的肖像，这其中富含关于社会顶层男性希望被“观看”的身体实体，以及他们作为社会中的道德行动者如何表达自身的丰富信息。在模块的一开始，我们将学习武士肖像的基本形式，并开始解读这些图像上所书写的诗歌和散文。 2. **绘画美人** - 描述：日本在引入摄影之前制作的女性视觉图像可以分为两种类型：社会中真实存在女性的肖像及理想化“美女”的绘制或印刷图像。从本质上而言，这些理想化的女性形象往往不是对物质现实的反映，而是集中在风格和情境方面。正如武士肖像，现实及虚构的女性图像上也常常附有文本，指导观众理解和欣赏这些形象。在本模块中，我们将回顾几幅绘画和印刷图像，学习当时观众如何利用这些图像及其文本来理解世界。 3. **文学摄影 I** - 描述：早期现代日本艺术家和作家采用了哪些方法来“捕捉瞬间”，这些方法如何影响了19世纪中期西方摄影的引进和适应？在本模块中，我们将观察摄影表现方式如何被融入到之前讨论的肖像文学传统中。 4. **文学摄影 II** - 描述：最后一个模块追踪文学摄影从19世纪末到日本现代时代的发展轨迹。19世纪末和20世纪初的日本人像摄影图像常常附有文学作品，这些作品或写在图片上，或在背面。现代小说家有时还会发表以短诗作为标题的照片。我们将总结视觉与书面表现方式如何相互交织，结合，产出社会及心理实际的有力文献。
Name:Samurai Portraits
Description:One good way to gauge the distance between literary and visual culture in early modern Japan is to examine the ways in which painters and poets depicted their contemporaries. Portraits of samurai are especially rich in information about how men at the top of the social ladder wished to be “viewed” as physical entities, and how they expressed themselves as moral actors within society. In the first module, we will learn the basic formal aspects of samurai portraiture, and at the same time begin to interpret poems and prose inscribed onto the images themselves.
Name:Painted Beauties
Description:Visual images of women produced in Japan before the introduction of photography can be divided into two types: portraits of women who actually existed in society, and painted or printed images of idealized “beauties,” whose resemblance to physical reality was subsumed often to an intense interest in mode and situational aspect. Like samurai portraits, images of women, both real and imagined, would often be inscribed with texts which instruct viewers how to understand and appreciate them. In this module, we will overview several painted and printed images, and learn how contemporary viewers used these images and their texts as a tool to understand the world.
Name:The Literary Photograph I
Description:What methods did early modern Japanese artists and writers have at hand to “capture the moment,” and how did these methods influence the introduction and adaption of western photography in the mid-nineteenth century? In this module we will see how photographic modes of representation were assimilated into the literary tradition of portraiture, which was covered in modules 1 and 2.
Name:The Literary Photograph II
Description:Our final module traces the trajectory of the literary photograph from the end of the long nineteenth century into Japan’s modern era. Photographic images of the human figure in late nineteenth and early twentieth century Japan were often accompanied by literary writing inscribed either on the image itself, or on its reverse side. Modern novelists sometimes published photographs with short poems as captions. We will wrap up our course with a summary of how visual and written modes of representation colluded, and combined to produce powerful documents of social and psychological actuality.
In their ambition to capture “real life,” Japanese painters, poets, novelists and photographers of the nineteenth century collaborated in ways seldom explored by their European contemporaries. This course offers learners the chance to encounter and appreciate behavior, moral standards and some of the material conditions surrounding Japanese artists in the nineteenth century, in order to renew our assumptions about what artistic “realism” is and what it meant. Learners will walk away with a clear understanding of how society and the individual were conceived of and represented in early modern Japan. Unlike contemporary western art forms, which acknowledge their common debt as “sister arts” but remain divided by genre and discourse, Japanese visual and literary culture tended to combine, producing literary texts inspired by visual images, and visual images which would then be inscribed with poems and prose. Noticing and being able to interpret this indivisibility of visual/literary cultures is essential in understanding the social and psychological values embedded within the beauty of Japanese art.
