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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
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Claude Cahun lived and worked in France and Jersey Island, a British domain, in the first half of the twentieth century when Europe was covered with the atmosphere and the aftermath of the First World War. After death, she had been forgotten in history for a long time, and literally re-discovered by modern art historians, especially in the 1990s, most of whom exclusively focused on her self-portraits and analyzed the works from the post-modern feminist point of view. Even though it is hard to deny that they dedicated a lot to the successful excavation of Cahun’s works and herself from the complete oblivion, they had to admit their own limitations to fully understand her various works and activities. This thesis focuses on Cahun’s self-portraits and objet photographs taken from the 1910s till the late 1930s and deals with some issues which have been ignored by the feminist art historians. With these issues, I try to add more stories to the readings on Claude Cahun’s life and works.
In the first part the body of this thesis, I try to read Cahun’s self-portraits made in the 1910s and 1920s by dividing them into two groups. This classification is based on the change of the context of her life and activities. By studying her writings, I find an urge for self-destruction and successive self-transformation, and insist that Cahun’s self-portraits are speaking of these themes along with the problem of instable self and sexual identity as many art historians maintained. To understand this, it is important to be informed the formal strategies she used to embody these themes in her early self-portraits. Moreover, I try to re-analyze Cahun’s works made in the 1920s, the so-called ‘self-portraits of masquerade’, by connecting them to the theme of ‘artificiality’ which formed a particular trend in the world of avant-garde theatre, the major field of Cahun's activities at that time. With the works, she tries to embody the self-image completely invaded and substituted by artificial objects.
The second part the body of this thesis focuses on Cahun’s objets made in the 1930s. Here, I stress on the necessity for critics to turn their gaze on these objet works which have relatively been ignored in the art world compared to her self-portraits. In the early 1930s, Claude Cahun participated in Surrealist groups and showed political activities. I think that her objets could be read based on the political interest she had in this period. The study on these objets tells us about Cahun’s avant-garde stance against the suppression of material civilization and the values of bourgeois society.
In the first part the body of this thesis, I try to read Cahun’s self-portraits made in the 1910s and 1920s by dividing them into two groups. This classification is based on the change of the context of her life and activities. By studying her writings, I find an urge for self-destruction and successive self-transformation, and insist that Cahun’s self-portraits are speaking of these themes along with the problem of instable self and sexual identity as many art historians maintained. To understand this, it is important to be informed the formal strategies she used to embody these themes in her early self-portraits. Moreover, I try to re-analyze Cahun’s works made in the 1920s, the so-called ‘self-portraits of masquerade’, by connecting them to the theme of ‘artificiality’ which formed a particular trend in the world of avant-garde theatre, the major field of Cahun's activities at that time. With the works, she tries to embody the self-image completely invaded and substituted by artificial objects.
The second part the body of this thesis focuses on Cahun’s objets made in the 1930s. Here, I stress on the necessity for critics to turn their gaze on these objet works which have relatively been ignored in the art world compared to her self-portraits. In the early 1930s, Claude Cahun participated in Surrealist groups and showed political activities. I think that her objets could be read based on the political interest she had in this period. The study on these objets tells us about Cahun’s avant-garde stance against the suppression of material civilization and the values of bourgeois society.
목차
Ⅰ. 서론
Ⅱ. ‘분열과 변형‘의 자화상
Ⅲ. ‘이상한 오브제들‘
Ⅳ. 결론
참고문헌
Abstract
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