意昂3系列講座
2017年第26講總第496講
講座題目🫲🏿：The Enigma of Velázquez in Vignettes: Las Meninas, Graphic Novel
委拉斯開茲之謎😐🏊🏻♀️：源自名畫傑作《宮女》
主講人：Conxita Domènech
美國懷俄明大學助理教授
主持人：袁浩副教授
講座時間：6月19日周一下午14:00-16:00
講座地點：校本部E512
主講人簡介❤️🔥：
She is an assistant professor at University of Wyoming, doing a lot of research about Spanish culture and literature. Her main publications include:El Segundo Quijote (1615): Nuevas interpretaciones cuatro siglos después, Letras hispánicas en la gran pantalla: De la literatura al cine, La Guerra dels Segadors en comedias y en panfletos ibéricos: Una historia contada a dos voces (1640–1652). And main awards on academic achivement include:Extraordinary Merit Award in Teaching, Extraordinary Merit Award in Research, Excellence in Teaching Award.
講座簡介：
In the first chapter of The Order of Things (1966), Michel Foucault (1926–84) recreates with words Las Meninas (1656) by Diego Velázquez (1599–1660). Foucault describes, interprets, reflects, and makes a reading of the dwarves, the Princess Margaret Theresa, the canvas, the maids of honour, the mirror, and the Kings, and, above all, transports lyrically and conceptually the painting to the paper. Therefore, the reader/observer reads the words of the philosopher and, simultaneously, observes the painting of the artist or, at least, keeps the picture in mind while reading the words of Foucault. This painting-paper movement, or rather, art-literature, goes even further in the graphic novel Las Meninas (2014) by Santiago García and Javier Olivares. The writer and the cartoonists, respectively, tell in words and in pictures the story of an enigmatic painting and painter. And, not only that: they also built a paper museum in which the works of Peter Paul Rubens (1577–1640), José de Ribera (1591–1652), Pablo Ruiz Picasso (1881–1973), Salvador Dalí (1904–89), and Equipo Crónica (1964–81), among many other artists, are displayed. This paper museum of García and Olivares is inspired by the Baroque logic: the painting within the painting; exhibits objects that question appearance: the mirror that tells the truth and lies at the same time (Hauser, 1965: 120); promotes an epistemological reflection of reality: "the reason of the unreason" and "this life is but a dream / and dreams are only dreams"; and is presented as a space of dialogue with a wide network of connections (Sarduy, 1972: 175): combinations of genres, shapes, colors, lights, and shadows.
翻譯：
在物質秩序第一章（1966年）中💣，米歇爾·福柯（Michel Foucault👃🏽，1926-84）用Diego Velázquez（1599-1660）的單詞Las Meninas（1656）重現。福柯描述、解釋🍴、反映和解讀了矮人🌌👭🏻、瑪格麗特·特裏薩公主、帆布、榮譽勛爵、鏡子和國王👩🏽🚀，最先將這幅畫在理論上運輸到紙上🤞🏽。因此，讀者閱讀哲學家的話，同時觀察藝術家的繪畫，或至少在閱讀福柯的話時記住這一點。這幅畫或者更確切的是藝術文學，在聖地亞哥加西亞和哈維爾·奧利瓦雷斯的圖形小說"Las Meninas"（2014）中也是如此呈現👷♂️✋🏼。作家和漫畫家分別用文字和圖片講述了一位神秘的繪畫家的故事。而且，不僅如此🍚🧑🏽🎄：他們還建立了一個紙質博物館，其中Paul Paul Rubens（1577-1640）🕹，Joséde Ribera（1591-1652）🧑🏿🏭，Pablo Ruiz Picasso（1881-1973）✒️，薩爾瓦多·達利（1904-89））和EquipoCrónica（1964-81）等展出。這個加西亞和奧利瓦雷斯博物館的靈感源於巴洛克式的邏輯🫲：繪畫中的繪畫；展現物品的外觀：同時講述真相和謊言的鏡子（Hauser，1965：120）；促進認識論對現實的反思📫："不合理的原因"和"這個生活只是一個夢想🌵，夢想只是夢想"🐫；並被呈現為與廣泛的連接網絡（Sarduy，1972🧕🏻：175）的對話空間：類型🕳，形狀♘，顏色👨🏼🍳🙅🏻，燈光和陰影的組合。
