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    政大機構典藏 > 學術期刊 > 俄語學報 > 期刊論文 >  Item 140.119/97031


    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/97031


    Title: 俄製「楚門秀」－革命後街頭宣傳藝術的表現與反思
    Other Titles: Soviet ";Truman Show";-Performance and Introspection of Propaganda Art in Public Space after the Bolshevik Revolution
    Authors: 黃明慧
    Huang, Ming-Hui
    Keywords: 公共空間;政治意識形態;宣傳海報
    Public space;Political Ideology;Poster Propaganda
    Date: 2009-08
    Issue Date: 2016-05-31 15:17:34 (UTC+8)
    Abstract: 二十世紀初俄羅斯境內歷經了外患內憂並存的政經起伏後，歷史上第一個社會主義國家於焉誕生。布爾什維克黨在建國之初，各式文藝以豐富且多樣的風貌擁抱革命，極具宣傳性與煽動性的視覺影像除了象徵舊體制的崩解，同時也呼應了對於新時代來臨的熱情與渴望。 本文以十月革命做為分界，擬探討該時點的前後期呈現在街頭的藝術形式（以節日遊行裝飾與宣傳海報為例），探討一種空間內（以街道、廣場為主）視覺藝術的高度政治運作。文中討論的街頭，不全然是哈伯瑪斯（Jürgen Habermas, 1929-）所謂之公共空間（public sphere），一個可供辯論與交換知識的社會及政治場所；而是圍繞在市井小民週遭，被黨國權力置放各種意識形態的生存空間。哪一類的宣傳藝術形式獲得蘇共政權的青睞並且藉以進行教化？蘇共政權逐漸鞏固走向極權的過程中，文藝創作遵照黨的最高指導原則，化身官方宣傳的工具利器，在街頭巷尾普遍傳遞、各自解讀，儘管主題風格的自由度受到約制，但僥倖通過嚴格審查而獲問世的作品時而有之，期望挾帶為自身甚至為群眾發聲的可能性也大為增加，公共空間本質裡的自由特性似乎為它帶來一些助益與方便性。特別以馬雅可夫斯基的創作為例，琢磨其作品的特色，體察其關注的焦點，藉以對照呈現文藝創作的「例外」與自由。\\r 展示於街頭的藝術作品，在法令限制與創作自由的兩端游移、拉鋸，分寸的拿捏除了證明畫家的技藝純熟，還同時呈現其對政治生態和生活空間驟變的敏感度與適應力，成品背後的故事是研究該時期政經、文化發展的珍貴資源。藉由檢視這種微觀的藝術表現，看見俄羅斯民族逐漸形塑之共同體藍圖，對於以「最後一個帝國」來形容蘇聯也不難想像！
    The first socialist country, USSR, on the human history was established at dawn of the 20th century on the Euroasia continent. Under the circumstance of internal revolt and foreign invasion, the Bolshevik embraced the Revolution with the variety of artistic creations. The agitative and propagandist visual images, created by the time, symbolized the declination of the past tsarist regime. The rhythm of the artistic styles responded to coming new era with its enthusiasm and desire. This article intends to draw attention on the art performance, mainly on parade decorations and the political posters, of the public space in the sequence of the historical development of the Russia/Soviet culture. The target of the essay is to analyze the dynamic function of the political unit in the public space. In comparison with Habermas’ theory of the “Public Sphere”, the attention of the same is to look into the living space of the ordinary people that is connected to the open area. The situation of the balance/concession between the ideological apparatus and the receiver (the people), the state-favored form of art and its influence of the same are to be discovered. Hence, the newborn community of the Soviet Union, entitled the “Last Empire”, is not difficult to imagine.
    Relation: 俄語學報,14,129-152
    Journal of Russian Philology
    Data Type: article
    Appears in Collections:[俄語學報] 期刊論文

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