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首页> 外文学位 >Gauguin, Gilgamesh, and the modernist aesthetic allegory: The archaeology of desire in 'Noa Noa'.
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Gauguin, Gilgamesh, and the modernist aesthetic allegory: The archaeology of desire in 'Noa Noa'.

机译：高更，吉尔伽美什和现代主义美学寓言：《诺亚·诺亚》中的欲望考古学。

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摘要

This dissertation explores Paul Gauguin's Noa Noa ("fragrant" in Tahitian), a fictionalized "memoir" of his first journey to French Polynesia, which includes a transformative episode recounting a trip into the forest to collect wood for carving into sculptures. In Gauguin scholarship, this episode has provoked speculation because of the eroticized way in which the artist describes his relationship with his young Tahitian male guide on the expedition; several scholars have argued that this episode of Noa Noa is designed to trouble conventional bourgeois boundaries, while others have offered sharp postcolonial critiques. I offer a different reading of this episode, arguing that the forest journey in Noa Noa replays the journey to the cedar forest in the myth of Gilgamesh, and that the artist's transplantation of this ancient Assyrian epic to a Polynesian setting adds a new layer to our understanding of the transnational and transhistorical nature of Gauguin's primitivism. I argue that as a painter in search of total artistic freedom, Gauguin used Gilgamesh to write into Noa Noa an allegory of aesthetic pursuit and to refashion himself as what Roland Barthes would call an "anachronic subject.";This dissertation begins with a discussion of Gauguin's complicated mimetic behavior, positing him as an artist who is suspended between Romantic and Modernist aesthetic modes. It traces the lineage and development of Noa Noa as a multigeneric text drawing on many traditions simultaneously. It then proceeds to explore the discovery and translation of the Epic of Gilgamesh by French and English archaeologists and scholars in the nineteenth century, working as part of a larger imperialistic project fueled by nationalistic sentiment. It is within this context that my dissertation turns to the text of Noa Noa itself, comparing key passages with the Gilgamesh epic and demonstrating how these passages dramatize symbolically what Gauguin struggled to achieve aesthetically on canvas. I conclude that what has come to be known as the Woodcutter Episode in Noa Noa is not just about Gauguin's homoerotic desire for his Tahitian guide; it is about Gauguin's symbolic desire for fusion between thought and form in the work of art.
机译：本文探讨了保罗·高更（Paul Gauguin）的《 Noa Noa》（大溪地语中的“芬芳”），这是他第一次前往法属波利尼西亚时的虚构的“回忆录”，其中包括一段讲述性的插曲，讲述了他到森林里收集木材以雕刻成雕塑的旅程。在高更的奖学金中，这一集激起了人们的猜测，因为艺术家用色情的方式描述了他与年轻的大溪地男性探险向导的关系。几位学者认为，诺阿·诺亚的这一集旨在扰乱传统的资产阶级边界，而另一些人则提出了尖锐的后殖民批评。我对此集有不同的解读，认为诺亚诺亚的森林之旅重演了吉尔伽美什神话中的雪松森林之旅，而艺术家将古老的亚述史诗移植到波利尼西亚的场景为我们增添了新的层次对高更原始主义的跨国性和历史性的理解。我认为，高更作为画家寻求艺术的完全自由，他用吉尔伽美什（Gilgamesh）向诺亚·诺亚（Noa Noa）写下了审美追求的寓言，并将自己重新塑造为罗兰·巴特斯（Roland Barthes）所说的“过时的主题”。高更复杂的模仿行为，使他成为一个介于浪漫主义和现代主义审美模式之间的艺术家。它同时追溯了Noa Noa的血统和发展，它是同时借鉴了许多传统的多类文字。然后，它探索了十九世纪法国和英国的考古学家和学者对吉尔伽美什史诗的发现和翻译，这是在民族主义情绪的推动下进行的一个更大的帝国主义项目的一部分。在这种背景下，我的论文转向了Noa Noa本身的文本，将主要段落与吉尔伽美什史诗进行了比较，并展示了这些段落如何象征性地演绎了高更在画布上美学上的努力。我得出的结论是，在诺亚诺亚被称为“伐木工人情节”的原因不仅仅在于高更对他的大溪地指南的同性渴望；这是关于高更对艺术作品中思想与形式之间融合的象征性渴望。

著录项

  • 作者

    McBryan, Jennifer Mary.;

  • 作者单位

    Rutgers The State University of New Jersey - New Brunswick.;

  • 授予单位 Rutgers The State University of New Jersey - New Brunswick.;
  • 学科 Literature Comparative.;Art History.;Literature Romance.
  • 学位 Ph.D.
  • 年度 2011
  • 页码 335 p.
  • 总页数 335
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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