工藝設計中的視覺、物質與政治

課程導論: 藝術史、視覺文化與物質性 Jules David Prown, “Mind in Matter: An Introduction to Material Culture Theory and Method,”Winterthur Portfolio, Vol. 17, No. 1 (1982), pp. 1-19.

工藝設計、王權與國家：以法國為例 1. Nicola Courtright, “From Gregory XIII to Louis XIV: the Art and Politics of Reform in France,” Memoirs of the American Academy in Rome , Vol. 54 (2009), pp. 3-30. 2. Edith A. Standen, “For Minister or for King: Two Seventeenth-Century Gobelins Tapestries after Charles Le Brun,” Metropolitan Museum Journal, Vol. 34 (1999), pp. 10-11+125-134. (12 頁)

傳統與創新：十八世紀歐洲工藝 1. Mary Guyatt, “The Wedgwood Slave Medallion: Values in Eighteenth-Century Design,” Journal of Design History, Vol. 13, No. 2 (2000), pp. 93-105. (約9頁) 2. Mimi Hellman, “Furniture, Sociability, and the Work of Leisure in Eighteenth-Century France,” Eighteenth-Century Studies, Vol. 32, No. 4, (1999), pp. 415-445. 參考閱讀： Nancy H. Ramage, “Flying Maenads and Cupids: Pompeii, Herculaneum, and Eighteenth-Century Decorative Arts,” Studies in the History of Art, Vol. 79, (2013), pp. 161-176.

東西交流中的工藝設計 1. Julie Bellemare, “Design Books in the Chinese Taste: Marketing the Orient in England and France, 1688-1735,” Journal of Design History, Vol. 27, No. 1 (2014), pp. 1-16. 2. Kristina Kleutghen, “Chinese Occidenterie: the Diversity of “Western" Objects in Eighteenth-Century China,” Eighteenth-Century Studies, Vol. 47, No. 2, (2014), pp. 117-135.

高雅藝術與設計工藝：論辯與分流 1. 謝佳娟，〈藝術的進程：十八世紀下半葉英國藝術、製造業、商業勵進會對文雅藝術的提倡〉，《藝術學研究》，26期，2020年6月，57-142頁。 2. Christine Velut, “Between Invention and Production: The Role of Design in the Manufacture of Wallpaper in France and England at the Turn of the Nineteenth Century,” Journal of Design History, Vol. 17, No. 1, (2004), pp. 55-69.

「工藝」的發明：工業化時代的手工與現代性 Glenn Adamson, The Invention of Craft, (London: Bloomsbury, 2013), “Introduction,” pp. xiv-xxv(11頁) and Chapter 1, pp. 1-22, 31-45 (16頁) 課堂活動: 手工藝製作 選擇一種簡單手工藝，在課前完成一件小型作品。作業重點在於透過材料操作理解工藝製作中的物質性與勞動經驗而非技術完成度。將成品於課堂展示並進行小報告，從 構思、技法、材料等面向分享製作心得。

工藝、帝國與文化再現：殖民情境中的「傳統」建構 1.Abigail McGowan, Crafting the Nation in Colonial India (New York: Palgrave Macmillan, 2009), Chapter 1, pp. 23-66. 2. Saloni Mathur, “Living Ethnological Exhibits: the Case of 1886,” Cultural Anthropology, Vol. 15, No. 4 (2000), pp. 492-524. (內文約25頁)

工藝、性別與文化想像(I) 1. Abigail McGowan, “Mothers and Godmothers of Crafts: Female Leadership and the Imagination of India as a Crafts Nation, 1947–67,” South Asia: Journal of South Asian Studies, Vol. 44, No. 2, (2021), pp. 282–297. 2. 2. Wendy Wiertz, “The Identity of an Embroidering Woman: The Needle Arts in Brussels, Belgium, 1850–1914,” in Stitching the Self: Identity and the Needle Arts, eds., by Johanna Amos and Lisa Binkley (London: Bloomsbury Visual Arts, 2020), pp. 21-32.

期中報告

工藝、性別與文化想像(II) 1. Steven M. Gelber, “Do-It-Yourself: Constructing, Repairing and Maintaining Domestic Masculinity,” American Quarterly, Vol. 49, No. 1 (1997), pp. 66-112(約31頁). 2. Maya Wassell Smith, “The Fancy Work What Sailors Make’: Material and Emotional Creative Practice in Masculine Seafaring Communities,” Nineteenth-Century Gender Studies, Issue 14.2 (2018). https://www.ncgsjournal.com/issue142/smith.html (約17頁).

打造理想國：工藝設計與日常政治 1. Jeffrey Petts, “Good Work and Aesthetic Education: William Morris, the Arts and Crafts Movement, and Beyond,” The Journal of Aesthetic Education, Vol. 42, No. 1 (2008), pp. 30-45. 2. 林承緯 ，〈顏水龍的台灣工藝復興運動與柳宗悅－生活工藝運動之比較研究〉，《藝術評論》， 18期 (2008) ， 第167 – 195頁。

設計教育、工藝訓練與政治公共性 1. Barbara Jaffee, “Before the New Bauhaus: From Industrial Drawing to Art and Design Education in Chicago,” Design Issues, Vol. 21, No. 1 (2005), pp. 41-62. 2. 2. Janice Helland, “‘From Prison to Citizenship,’ 1910: The Making and Display of a Suffragist Banner,” in Stitching the Self: Identity and the Needle Arts, eds., by Johanna Amos and Lisa Binkley (London: Bloomsbury Visual Arts, 2020), pp. 115–130.

案例研究：日本、美國、斯堪地那維亞 1. Takuya Kida, “Japanese Crafts and Cultural Exchange with the USA in the 1950s: Soft Power and John D. Rockefeller III during the Cold War,” Journal of Design History, Vol. 25, No. 4, 25th Anniversary Issue (2012), pp. 379-399. 2. Edward S. Cooke Jr., “Modern Craft and the American Experience,” American Art, Vol. 21, No. 1 (2007), pp. 2-9. Glenn Adamson, “Craft and the Romance of the Studio,” American Art, Vol. 21, No. 1 (2007), pp. 14-18. 3. Margaret Hodges, “Nationalism and Modernism: Rethinking Scandinavian Design in Canada, 1950-1970,” RACAR: revue d'art canadienne / Canadian Art Review, Vol. 40, No. 2, (2015), pp. 57-71.

工藝、女性氣質與女性主義實踐 (1970-) 1. Rozsika Parker, The Subversive Stitch: Embroidery and the Making of the Feminine, (London: The Women’s Press, 1984), Chapter 1, “The Domestication of Embroidery,” pp. 1-10. 2. Alla Myzelev, “Creating Digital Materiality: Third-Wave Feminism, Public Art, and Yarn Bombing,” Material Culture, Vol. 47, No. 1, Special Issue: Technology (2015), pp. 58-78.

數位時代下的工藝與社群文化 Shannon Black, “‘Making Craft Visible’? The Complicated Relationship Between Photography, Instagram, and Domestic Fibre-Craft,” Journal of Canadian Art History / Annales d'histoire de l'art Canadien, Vol. 39/40, No. 2/1 (2018/2019), pp. 160-177. 課堂活動: 將期中製作的手工藝品拍攝一張「Instagram美學風格」的照片(如果可能請上傳到自己的IG)，並在課堂上進行分享在將工藝品影像化、公開展示的過程中，所面對的挑戰與心得。

期末口頭報告