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㰀洀攀琀愀 栀琀琀瀀ⴀ攀焀甀椀瘀㴀䌀漀渀琀攀渀琀ⴀ吀礀瀀攀 挀漀渀琀攀渀琀㴀∀琀攀砀琀⼀栀琀洀氀㬀 挀栀愀爀猀攀琀㴀甀渀椀挀漀搀攀∀㸀ഀഀ 㰀猀琀礀氀攀㸀ഀഀ 㰀⼀猀琀礀氀攀㸀ഀഀ 㰀⼀栀攀愀搀㸀ഀഀ 㰀戀漀搀礀 氀愀渀最㴀娀䠀ⴀ吀圀 氀椀渀欀㴀戀氀甀攀 瘀氀椀渀欀㴀瀀甀爀瀀氀攀㸀ഀഀ 㰀搀椀瘀 挀氀愀猀猀㴀圀漀爀搀匀攀挀琀椀漀渀㸀ഀഀ 㰀栀㈀ 愀氀椀最渀㴀挀攀渀琀攀爀 猀琀礀氀攀㴀✀琀攀砀琀ⴀ愀氀椀最渀㨀挀攀渀琀攀爀✀㸀쭗ॺ❿硙㱛猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀 㔀㰀⼀猀瀀愀渀㸀砀瑛Ꙟⱞ㱻猀瀀愀渀ഀഀ lang=EN-US>1學期教學大綱 ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀 㔀㈀㜀㐀 ㈀㰀⼀猀瀀愀渀㸀㰀⼀瀀㸀ഀഀ | 㰀琀搀 眀椀搀琀栀㴀∀㔀─∀ 猀琀礀氀攀㴀✀眀椀搀琀栀㨀㔀⸀ ─㬀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀눀ஊൺㅔ㱺⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀褀偒꺌㱩猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀⠀㰀⼀猀瀀愀渀㸀厅ﮈ㱼猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀⤀㰀⼀猀瀀愀渀㸀㰀⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ|||||||
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀㈀⸀ ⠀㈀⸀ ⤀㰀⼀猀瀀愀渀㸀㰀⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀䠀텏㱶⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀㰀⼀琀搀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀씀硟╏㱒⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀ഀ上課地點 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀踀卿⢈㲙猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀 䰀㈀ 㠀 㰀⼀猀瀀愀渀㸀㰀⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀鹗㲊⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ||||
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀渀漀渀攀㰀⼀猀瀀愀渀㸀㰀⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀ἀὦ㱧猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀㌀㰀⼀猀瀀愀渀㸀Ⰰ㱻猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀㌀㰀⼀猀瀀愀渀㸀쀀㱻猀瀀愀渀ഀഀ
lang=EN-US>~第4節, 地點~第4節, 地點
㰀⼀琀爀㸀ഀഀ
課程大網網址 㰀⼀琀搀㸀ഀഀ
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀栀琀琀瀀猀㨀⼀⼀眀攀戀 㠀㔀 㐀⸀愀搀洀⸀渀挀礀甀⸀攀搀甀⸀琀眀⼀匀礀氀氀愀戀甀猀⼀匀礀氀氀愀戀甀猀开刀瀀琀⸀愀猀瀀砀㼀䌀爀猀䌀漀搀攀㴀 㔀㈀㜀㐀 ㈀㰀⼀猀瀀愀渀㸀㰀⼀瀀㸀ഀഀ
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㰀⼀琀爀㸀ഀഀ
備 註 㰀⼀琀搀㸀ഀഀ
㰀⼀琀爀㸀ഀഀ
| 本課程之教學主題、內容或活動是否與性別平等議題有相關之處:否 㰀⼀琀搀㸀ഀഀ
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀Ⰰ뉧⾊♦罔⡏齵蝓奥健ᙧ齢蝓㉦䲐妈硥ᩛ⛿㱔⼀瀀㸀ഀഀ
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㰀⼀琀爀㸀ഀഀ
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㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀戀㸀澕➀㱠⼀戀㸀㰀⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ||
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀澕➀ⵠ䥎㱻⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ||
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀澕➀ⵠ䥎㱻⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ||
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀澕➀ⵠ䥎㱻⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ||
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀澕➀ⵠ䥎㱻⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ||
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀澕➀ൠ㝺㱟⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ||
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀澕➀ⵠ䥎㱻⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ||
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀澕➀`㝧㱟⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ||
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀澕➀`㝧㱟⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ||
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀戀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀츀㰥⼀猀瀀愀渀㸀夀硥㉛Ꚑᩞ㳿⼀戀㸀㰀⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ||
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀戀㸀㬀䱎㲘⼀戀㸀㰀⼀瀀㸀ഀഀ | 㰀琀搀 眀椀搀琀栀㴀∀㐀㜀─∀ 猀琀礀氀攀㴀✀眀椀搀琀栀㨀㐀㜀⸀ ─㬀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀戀㸀夀硥륛핥㱬⼀戀㸀㰀⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ|
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀䤀渀琀爀漀搀甀挀琀椀漀渀 琀漀 琀栀椀猀 挀漀甀爀猀攀 㰀戀爀㸀ഀഀ
modern art (I)– Impressionism (1)(課程導論;現代藝術1,印象派
㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ
Introduction; | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀ᬀ袋ţะ횊ʊ㰰⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ|
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀洀漀搀攀爀渀 愀爀琀 ⠀䤀⤀ ጀ†䤀洀瀀爀攀猀猀椀漀渀椀猀洀⠀㈀⤀⤀㰀⼀猀瀀愀渀㸀ࠀ厅㲈猀瀀愀渀ഀഀ lang=EN-US>1,印象派2) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀吀栀攀漀爀椀攀猀 愀渀搀 猀琀礀氀攀猀 漀昀ഀഀ Renoir,Degas,Toulouse-Lautrec)(Renoir,Degas,Toulouse-Lautrec之理論與風格) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀ᬀ袋ţะ횊ʊ㰰⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀洀漀搀攀爀渀 愀爀琀⠀䤀䤀⤀ ጀ†一攀漀ⴀ椀洀瀀爀攀猀猀椀漀渀椀猀洀⤀⤀㰀⼀猀瀀愀渀㸀ࠀ厅㲈猀瀀愀渀ഀഀ lang=EN-US>2,新印象派) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀吀栀攀漀爀椀攀猀 愀渀搀 猀琀礀氀攀猀 漀昀 匀攀甀爀愀琀㰀⼀猀瀀愀渀㸀ࠀ㳿猀瀀愀渀ഀഀ lang=EN-US>Seurat之理論與風格) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀ⵓ㆘䩘Ŕᬰ袋ţะ횊ʊ㰰⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀洀漀搀攀爀渀 愀爀琀 ⠀䤀䤀䤀⤀ጀ†倀漀猀琀椀洀瀀爀攀猀猀椀漀渀椀猀洀 ⠀⤀㰀⼀猀瀀愀渀㸀ࠀ厅㲈猀瀀愀渀ഀഀ lang=EN-US>3,後印象派1) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀吀栀攀漀爀椀攀猀 愀渀搀 猀琀礀氀攀猀 漀昀 䌀攀稀愀渀渀攀㰀⼀猀瀀愀渀㸀ࠀ㳿猀瀀愀渀ഀഀ lang=EN-US>Seurat之理論與風格) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀ⵓ㆘䩘Ŕᬰ袋ţะ횊ʊ㰰⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀洀漀搀攀爀渀 愀爀琀 ⠀䤀嘀⤀ጀ†倀漀猀琀椀洀瀀爀攀猀猀椀漀渀椀猀洀⠀㈀⤀㰀⼀猀瀀愀渀㸀ࠀ厅㲈猀瀀愀渀ഀഀ lang=EN-US>4,後印象派2) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀吀栀攀漀爀椀攀猀 愀渀搀 猀琀礀氀攀猀 漀昀 䜀愀甀最甀椀渀 愀渀搀 嘀愀渀ഀഀ Gogh(Seurat之理論與風格) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀ⵓ㆘䩘Ŕᬰ袋ţะ횊ʊ㰰⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀洀漀搀攀爀渀 愀爀琀⠀嘀⤀ጀ†匀礀洀戀漀氀椀猀洀⠀㰀⼀猀瀀愀渀㸀︀厅㲈猀瀀愀渀ഀഀ lang=EN-US>5,象徵主義) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀吀栀攀漀爀椀攀猀 愀渀搀 猀琀礀氀攀猀 漀昀 匀礀洀戀漀氀椀猀洀㰀⼀猀瀀愀渀㸀ࠀ懿떌㭟ꥎ䭿َ홴ފꢂ㲘२㳿⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀 愀氀椀最渀㴀挀攀渀琀攀爀 猀琀礀氀攀㴀✀琀攀砀琀ⴀ愀氀椀最渀㨀挀攀渀琀攀爀✀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀 㜀㰀⼀猀瀀愀渀㸀㰀⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀尀浏㱩猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀⼀㰀⼀猀瀀愀渀㸀툀䱿ᒘŽⵓ㆘䩘Ŕᬰ袋ţะ횊ʊ㰰⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀洀漀搀攀爀渀 愀爀琀 ⠀嘀䤀䤀⤀ ጀ†䔀砀瀀爀攀猀猀椀漀渀椀猀洀⠀㰀⼀猀瀀愀渀㸀︀厅㲈猀瀀愀渀ഀഀ lang=EN-US>7,表現主義) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀吀栀攀漀爀椀攀猀 愀渀搀 猀琀礀氀攀猀 漀昀 䔀砀瀀爀攀猀猀椀漀渀椀猀洀㰀⼀猀瀀愀渀㸀ࠀ棿ﺈ㭳ꥎ䭿َ홴ފꢂ㲘२㳿⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀 愀氀椀最渀㴀挀攀渀琀攀爀 猀琀礀氀攀㴀✀琀攀砀琀ⴀ愀氀椀最渀㨀挀攀渀琀攀爀✀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀 㤀㰀⼀猀瀀愀渀㸀㰀⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀尀浏㱩猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀⼀㰀⼀猀瀀愀渀㸀툀䱿ᒘŽⵓ㆘䩘Ŕᬰ袋ţะ횊ʊ㰰⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀洀漀搀攀爀渀 愀爀琀 ⠀䤀堀⤀ ጀ†䘀甀琀甀爀椀猀洀⠀㰀⼀猀瀀愀渀㸀︀厅㲈猀瀀愀渀ഀഀ lang=EN-US>9,未來派) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀吀栀攀漀爀椀攀猀 愀渀搀 猀琀礀氀攀猀 漀昀 䘀甀琀甀爀椀猀洀㰀⼀猀瀀愀渀㸀ࠀ⫿虧㹏䭭َ홴ފꢂ㲘२㳿⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀 愀氀椀最渀㴀挀攀渀琀攀爀 猀琀礀氀攀㴀✀琀攀砀琀ⴀ愀氀椀最渀㨀挀攀渀琀攀爀✀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀㰀⼀猀瀀愀渀㸀㰀⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀 愀氀椀最渀㴀挀攀渀琀攀爀 猀琀礀氀攀㴀✀琀攀砀琀ⴀ愀氀椀最渀㨀挀攀渀琀攀爀✀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀㈀㰀⼀猀瀀愀渀㸀㰀⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀吀栀攀漀爀椀攀猀 愀渀搀 猀琀礀氀攀猀 漀昀 䐀愀搀愀Ⰰ匀甀爀爀攀愀氀椀猀洀Ⰰഀഀ and Scuola Metafisica(達達、超現實、形橎歾䭵َ홴ފꢂ㲘२㳿⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀 愀氀椀最渀㴀挀攀渀琀攀爀 猀琀礀氀攀㴀✀琀攀砀琀ⴀ愀氀椀最渀㨀挀攀渀琀攀爀✀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀㌀㰀⼀猀瀀愀渀㸀㰀⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀 愀氀椀最渀㴀挀攀渀琀攀爀 猀琀礀氀攀㴀✀琀攀砀琀ⴀ愀氀椀最渀㨀挀攀渀琀攀爀✀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀㐀㰀⼀猀瀀愀渀㸀㰀⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀 愀氀椀最渀㴀挀攀渀琀攀爀 猀琀礀氀攀㴀✀琀攀砀琀ⴀ愀氀椀最渀㨀挀攀渀琀攀爀✀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀㔀㰀⼀猀瀀愀渀㸀㰀⼀瀀㸀ഀഀ | 㰀琀搀 猀琀礀氀攀㴀✀瀀愀搀搀椀渀最㨀⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀 ⸀㜀㔀瀀琀✀㸀ഀഀ 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀挀漀洀瀀愀爀椀猀漀渀 戀攀琀眀攀攀渀 洀漀搀攀爀渀 愀渀搀ഀഀ postmodern art, culture as well as issues(比較現代與後現代間藝術、文化與議題) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀尀浏㱩猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀⼀㰀⼀猀瀀愀渀㸀툀䱿ᒘŽⵓ㆘䩘Ŕᬰ袋ţะ횊ʊ㰰⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀䔀愀猀琀攀爀渀 瀀栀椀氀漀猀漀瀀栀礀 愀渀搀 愀攀猀琀栀攀琀椀挀猀 椀渀ഀഀ modern and contemporary art(現代與當代藝術中之東方哲學與美學) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀倀甀爀椀琀礀Ⰰ猀瀀椀爀椀琀甀愀氀椀琀礀Ⰰ䔀愀猀琀攀爀渀 瀀栀椀氀漀猀漀瀀栀礀ഀഀ and aesthetics in modern and contemporary art(現代與當代藝術中之純粹性、精神性、東方哲學與美學) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀尀浏㱩猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀⼀㰀⼀猀瀀愀渀㸀툀䱿ᒘŽⵓ㆘䩘Ŕᬰ袋ţะ횊ʊ㰰⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀吀栀攀 洀漀搀攀爀渀 愀渀搀 挀漀渀琀攀洀瀀漀爀愀爀礀 愀爀琀 漀昀ഀഀ Taiwan (I))(台灣之現代與當代藝術-1) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀吀栀攀漀爀椀攀猀 愀渀搀 猀琀礀氀攀猀 漀昀 琀栀攀 洀漀搀攀爀渀 愀渀搀ഀഀ contemporary art of Taiwan)(台灣之現代與當代藝術理論與風格) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀尀浏㱩猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀⼀㰀⼀猀瀀愀渀㸀툀䱿ᒘŽⵓ㆘䩘Ŕᬰ袋ţะ횊ʊ㰰⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀吀栀攀 洀漀搀攀爀渀 愀渀搀 挀漀渀琀攀洀瀀漀爀愀爀礀 愀爀琀 漀昀ഀഀ Taiwan (II)(台灣之現代與當代藝術-2) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀挀甀氀琀甀爀愀氀 椀猀猀甀攀 愀渀搀 椀搀攀渀琀椀琀礀 漀昀ഀഀ contemporary Taiwanese artists(當代台灣藝術家之文化議題與認同) 㰀⼀琀搀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀尀浏㱩猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀⼀㰀⼀猀瀀愀渀㸀툀䱿ᒘŽⵓ㆘䩘Ŕᬰ袋ţะ횊ʊ㰰⼀瀀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀戀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀츀㰥⼀猀瀀愀渀㸀က㹢;㢀㱨⼀戀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀㰀戀爀㸀ഀഀ 課堂參與討論25% : Participation in discussion(討論之參與情形)書面報告40% : term paper, academically written(以嚴謹學術方式敘寫期末報告)口頭報告25% : individual's oral presentation with one 漀昀 琀栀攀 琀漀瀀椀挀猀 椀渀 琀栀攀 挀漀甀爀猀攀㰀⼀猀瀀愀渀㸀ࠀ뉎ʊ䭘뉎䲊㊘䲐ஈ멐ⵓ㆘䩘॔㳿猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀㰀戀爀㸀ഀഀ assignments(完成課堂給予之作業) 10% 㰀⼀琀搀㸀ഀഀ 㰀琀爀㸀ഀഀ |
㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀戀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀츀㰥⼀猀瀀愀渀㸀쌀͓ݶ碂퉛읿邌㱮⼀戀㸀㰀猀瀀愀渀ഀഀ
lang=EN-US> 䄀戀戀猀Ⰰ 倀⸀ ⠀㈀ ㌀⤀⸀ 䄀最愀椀渀猀琀 琀栀攀 昀氀漀眀㨀 䔀搀甀挀愀琀椀漀渀Ⰰ 琀栀攀 愀爀琀猀Ⰰ 愀渀搀 瀀漀猀琀洀漀搀攀爀渀ഀഀ culture. London: RoutledgeFalmer. 䄀搀搀椀猀猀Ⰰ 匀⸀ ⠀㤀㤀㠀⤀⸀ 吀栀攀 愀爀琀 漀昀 娀攀渀⸀ 一攀眀 夀漀爀欀㨀 䠀愀爀爀礀 一⸀ 䄀戀爀愀洀猀⸀ 㰀戀爀㸀ഀഀ Alperson, P. (1992). The philosophy of the visual arts. New York: Oxford 唀渀椀瘀攀爀猀椀琀礀 倀爀攀猀猀⸀ 㰀戀爀㸀ഀഀ Arnason, H. H. (1986). History of modern art. (3rd ed.). New York: Harry N. 䄀戀爀愀洀猀⸀ 㰀戀爀㸀ഀഀ Baas, J. (2005). Smile of the Buddha: Eastern philosophy and western art 昀爀漀洀 䴀漀渀攀琀 琀漀 琀漀搀愀礀⸀ 䌀䄀㨀 唀渀椀瘀攀爀猀椀琀礀 漀昀 䌀愀氀椀昀漀爀渀椀愀 倀爀攀猀猀⸀ 㰀戀爀㸀ഀഀ Cheetham, M. A. (1991). The rhetoric of purity: Essentialist theory and the 愀搀瘀攀渀琀 漀昀 愀戀猀琀爀愀挀琀 瀀愀椀渀琀椀渀最⸀ 一攀眀 夀漀爀欀㨀 䌀愀洀戀爀椀搀最攀 唀渀椀瘀攀爀猀椀琀礀 倀爀攀猀猀⸀ 㰀戀爀㸀ഀഀ Chipp, H. B. (1996). Theories of modern art. CA: University of California 倀爀攀猀猀⸀ 㰀戀爀㸀ഀഀ Collingwood, R. G. (1958). The principles of art. New York: Oxford 唀渀椀瘀攀爀猀椀琀礀 倀爀攀猀猀⸀ 㰀戀爀㸀ഀഀ Etlin, R. A. (1996). In Defense of Humanism: Value in the arts and letters. 一攀眀 夀漀爀欀㨀 䌀愀洀戀爀椀搀最攀 唀渀椀瘀攀爀猀椀琀礀 倀爀攀猀猀⸀ 㰀戀爀㸀ഀഀ Gablik, S. (1984). Has modernism failed? New York: Thames & Hudson. 䜀爀愀搀礀Ⰰ 䴀⸀ ⠀㈀ 㘀⤀⸀ 䄀爀琀 愀渀搀 挀漀渀猀挀椀漀甀猀渀攀猀猀 ጀ†吀栀攀 瀀攀搀愀最漀最礀 漀昀 愀爀琀 愀渀搀ഀഀ transformation. Visual Arts Research, 32(1). 83-91. 䜀爀攀攀渀戀攀爀最Ⰰ 䌀⸀ ⠀㤀㘀㔀⤀⸀ 䄀爀琀 愀渀搀 挀甀氀琀甀爀攀⸀ 䴀䄀㨀 䈀攀愀挀漀渀 倀爀攀猀猀⸀ 㰀戀爀㸀ഀഀ Gutting, G. (1998). Post-structuralism. Routledge Encyclopedia of 倀栀椀氀漀猀漀瀀栀礀 ⠀嘀攀爀猀椀漀渀 ⸀ ⤀⸀ 䰀漀渀搀漀渀㨀 刀漀甀琀氀攀搀最攀⸀ 㰀戀爀㸀ഀഀ Hunter, S., & Jacobus, J. (1992). Modern art. (3rd ed.). New York: 䠀愀爀爀礀 一⸀ 䄀戀爀愀洀猀⸀ 㰀戀爀㸀ഀഀ jagodzinski, j. (1997a). Postmodern dilemmas: Outrageous essays in art ☀愀洀瀀㬀 愀爀琀 攀搀甀挀愀琀椀漀渀⸀ 一䨀㨀 䰀愀眀爀攀渀挀攀 䔀爀氀戀愀甀洀⸀ 㰀戀爀㸀ഀഀ jagodzinski, j. (1997b). Pun(k) deconstruction: Experifigural writings in 愀爀琀 ☀愀洀瀀㬀 愀爀琀 攀搀甀挀愀琀椀漀渀⸀ 一䨀㨀 䰀愀眀爀攀渀挀攀 䔀爀氀戀愀甀洀⸀ 㰀戀爀㸀ഀഀ Kandinsky, W. (1914/1977). Concerning the spiritual in art (M.T.H. Sadler, 吀爀愀渀猀⸀⤀⸀ 一攀眀 夀漀爀欀㨀 䐀漀瘀攀爀⸀ 㰀戀爀㸀ഀഀ Koppman, D. (2002). Transformation, invocation, and magic in contemporary 愀爀琀Ⰰ 攀搀甀挀愀琀椀漀渀Ⰰ 愀渀搀 挀爀椀琀椀挀椀猀洀㨀 刀攀椀渀瘀攀猀琀椀渀最 愀爀琀 眀椀琀栀 愀 猀攀渀猀攀 漀昀 琀栀攀 猀愀挀爀攀搀⸀ഀഀ In Yvonne Gaudelius and Peg Speirs (Eds.), Contemporary issues in art 攀搀甀挀愀琀椀漀渀 ⠀瀀瀀⸀㌀ ⴀ㐀 ⤀⸀ 一䨀㨀 倀攀愀爀猀漀渀 䔀搀甀挀愀琀椀漀渀Ⰰ 䤀渀挀⸀ 㰀戀爀㸀ഀഀ Lucie-Smith, E. (1998). Art today. London: Phaidon. 䰀甀椀欀Ⰰ 䨀⸀ 䌀⸀ ⠀㤀㤀㠀⤀⸀ 䠀甀洀愀渀椀猀洀⸀ 刀漀甀琀氀攀搀最攀 䔀渀挀礀挀氀漀瀀攀搀椀愀 漀昀 倀栀椀氀漀猀漀瀀栀礀 ⠀嘀攀爀猀椀漀渀ഀഀ 1.0). 伀氀猀漀渀Ⰰ 䌀⸀㰀⼀猀瀀愀渀㸀ࠀ㳿猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀㈀ 㰀⼀猀瀀愀渀㸀ऀ㳿猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀⸀ 娀攀渀 愀渀搀ഀഀ the art of postmodern philosophy: Two paths of liberation from the 爀攀瀀爀攀猀攀渀琀愀琀椀漀渀愀氀 洀漀搀攀 漀昀 琀栀椀渀欀椀渀最⸀ 一夀㨀 匀琀愀琀攀 唀渀椀瘀攀爀猀椀琀礀 漀昀 一攀眀 夀漀爀欀 倀爀攀猀猀⸀ 㰀戀爀㸀ഀഀ Shusterman, R. (2004). Pragmatism and East-Asian thought. Metaphilosophy, ㌀㔀⠀Ⰰ㈀⤀Ⰰ ㌀ⴀ㐀㌀⸀ 㰀戀爀㸀ഀഀ Varnedoe, K.(1990). A fine disregarded: What makes modern art modern. New 夀漀爀欀㨀 䠀愀爀爀礀 一⸀ 䄀戀爀愀洀猀⸀ 㰀戀爀㸀ഀഀ Yenawine, P. (1991). How to look at modern art. New York: Harry N. Abrams. 㰀⼀琀搀㸀ഀഀ 㰀琀爀㸀ഀഀ | 㰀瀀 挀氀愀猀猀㴀䴀猀漀一漀爀洀愀氀㸀㰀戀㸀㰀猀瀀愀渀 氀愀渀最㴀䔀一ⴀ唀匀㸀츀㰥⼀猀瀀愀渀㸀夀健᭧ꦋ㱿⼀戀㸀ഀ*請勿侵害本課程教材講義之著作㱫猀瀀愀渀ഀഀ lang=EN-US>,未經許可不得任意轉載分享 㰀⼀琀搀㸀ഀഀ 㰀⼀琀愀戀氀攀㸀ഀഀ | 㰀⼀琀爀㸀ഀഀ
1.請최窑杦ꅡ⊌൵權、使用正版教科書並禁止非法影印。請重視性別平等教育之重要性,在各項學生集會場合、輔導及教學過程中,隨時向學生宣導正確的性別平 等觀念,並關心班硎Ὓή액쩠ὓ㭵譭Վಘꣿ䊖衦楎皐葵ᑶຏ쭞硺Ὓ捵멫葸❶╠獒䥞ཻ塡ʋ㰰⼀瀀㸀ഀഀ 㰀⼀搀椀瘀㸀ഀഀ 㰀⼀戀漀搀礀㸀ഀഀ 㰀⼀栀琀洀氀㸀ഀഀ