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題名 觀看辛蒂‧雪曼《歷史人物肖像》中的女性主義與酷兒敢曝
Cindy Sherman’s History Portraits and the Spectatorship of Feminist Camp and Queer Camp作者 周亞澄
Zhou, Ya-Chen貢獻者 朱靜華<br>劉瑞琪
周亞澄
Zhou, Ya-Chen關鍵詞 辛蒂‧雪曼
歷史人物肖像
敢曝
觀者
女性主義
酷兒日期 2019 上傳時間 5-Sep-2019 16:02:26 (UTC+8) 摘要 本論文主要研究美國知名女藝術家辛蒂‧雪曼（Cindy Sherman）於1989-1990年間陸續發表以古典肖像為扮裝主題的《歷史人物肖像》（History Portraits/ Old Masters）系列作品。《歷史人物肖像》是充滿後現代特色的系列創作，雪曼在這些自拍照中挪用許多似是而非的古典繪畫元素，讓觀眾能夠產生彷彿欣賞精緻歷史肖像畫的視覺體驗，卻也因為不合時宜的主題與矯揉造作的扮裝效果，讓此系列作品充滿敢曝特徵，而具有讓觀者對其產生敢曝觀看的潛能。不論是古典時期的傳統精緻肖像，或資本主義社會中的主流視覺文化，人物的性別身分和性別氣質經常被建構成自然的本質論述，使異性戀彷彿社會中唯一合理的存在。本篇論文分別以女性主義敢曝和酷兒敢曝為主題，除了說明雪曼此系列作品的敢曝如何讓女性、酷兒觀者發現性別身分與氣質都是一種文化建構，也分析其如何使觀者從不同於傳統以男性視覺慾望為主的觀看位置對父權社會和異性戀霸權進行嘲諷，藉此獲得觀看的愉悅和能動性，甚至發現外於異性戀二元論述的酷兒身分與情慾存在。 參考文獻 〈一〉 中文書籍劉瑞琪，《陰性顯影：女性攝影家的扮裝自拍像》，台北市：遠流，2004。哈爾·福斯特（Hal Foster）著，呂健忠譯，《反美學：後現代論集》，台北市：立緒出版社，2013。琳達‧妮德（Lynda Nead）著，侯宜人譯，《女性裸體》，台北市：遠流出版，1995。瑪莉蓮‧亞隆（Marilyn Yalom）著，何穎怡譯，《乳房的歷史》，台北市：麥田出版社，2019。蘇珊．桑塔格（Susan Sontag）著，黃茗芬譯，《反詮釋：桑塔格論文集》，台北市：麥田出版，2008。〈二〉 中文期刊劉瑞琪，〈女性主義藝術史研究方法論〉，《近代中國婦女史研究》，第八 期（2000），195-235。劉瑞琪，〈呼喚紈褲女的隱藏名字？－1920年代柏倫妮斯．艾比特的同女作家肖像攝影〉，《文化研究》，第十三期（2011），7-56。〈三〉 英文書籍Ann Doane, Mary. “Film and the Masquerade: Theorizing the Female Spectator (1982),” in The Sexual Subject: A Screen Reader in Sexuality, ed. John Caughie, Annette,Mandy Merck, and Barbara Creed, 227-43. London and New York: Routledge, 1992.Bergman, David. ed. Camp Grounds: Style and Homosexuality. Amherst: University of Massachusetts Press, 1993.Brod, Harry. “Masculinity as Masquerade,” in The Masculine Masquerade: Masculinity and Representation, ed. Andrew Perchuk and Helene Posner, 13-20. Cambridge, MA and London: MIT Press, 1995.Butler, Judith. Bodies That Matter: On The Discursive Limits of “sex". New York: Routledge, 1993.C. Danto, Arthur. “Past Masters and Post Moderns: Cindy Sherman’s History portraits,” in History portraits, Photographs by Cindy Sherman, Essay by Arthur C. Danto, 5–13. New York: Rizzoli, 1991.Case, Sue-Ellen. “Towards a Butch-Femme Aesthetic,” in Camp : Queer Aesthetics and the Performing Subject - A Reader, ed. Fabio Cleto, 186-93. Edinburgh: Edinburgh University Press, 1999.Criqui, Jean-Pierre. “The Lady Vanishes,” in Cindy Sherman, ed. Régis Durand, Véronique Dabin, and Edwige Baron, 270-83. Paris: Flammarion, 2006.Cruz, Amada. “Movies, Monstrosities, and Masks: Twenty Years of Cindy Sherman,” in Cindy Sherman:Rretrospective, Amada Cruz, Elizabeth A.T. Smith, and Amelia Jones, 1-17. New York : Thames & Hudson, 1997.Davis, Whitney. “‘Homosexuality,’ Gay and Lesbian Studies, and Queer Theory in Art History,” in The Subjects of Art History: Historical Objects in Contemporary Perspective, ed. Mark A. Cheetham, Michael Ann Holly, and Keith Moxey, 115-42. Cambridge: Cambridge University Press, 1998.Döttinger,Christa, and trans by Mufson, Daniel. Cindy Sherman: History Portraits: The Rebirth of the Painted Picutre after the End of Painting. München: Schirmer Mosel, 2012.Dyer, Richard. “Judy Garland and Gay Men,” in Heavenly Bodies: Film Stars and Society, ed. Richard Dyer, 138-57. London and New York : Routledge, 2004.Fillen-Yeh, Susan. “Introduction: New Strategies for a Theory of Dandies,” in Dandies: Fashion and Finesse in Art and Culture, ed. Susan Fillen-Yeh, 1-34. NewYork: New York University, 2001.Halberstam, Judith. Female masculinity. Durham: Duke University Press, 1998.Halberstam, Judith. The Queer Art of Failure. Durham: Duke University Press, 2011.Hart, Lynda. Making A Spectacle : Feminist Essays on Contemporary Women`s Theatre. Ann Arbor: University of Michigan Press, 1993.Hart, Lynda. Acting Out : Feminist Performances. Ann Arbor: University of Michigan Press, 1989.Heartney, Eleanor. “Cindy Sherman: The Polemics of Play,” in After The Revolution: Women Who Transformed Contemporary Art, ed. John D’Agata, 168-88. Munich: Prestel, 2007.Kunzle, David. Fashion & Fetishism: Corsets, Tight-Lacing and Other Forms of Body-Sculpture. Stroud: The History Press, 2004.Linkof, Ryan. “A Disciplined Style: Fashion and Fetishism in the Art of Robert Mapplethorpe,” in Robert Mapplethorpe: The Photographs, ed. Paul Martineau and Britt Salvesen, 271-81. Los Angeles: Getty Publications, 2016.Meyer, Moe. ed. The Politics and Poetics of Camp. London & New York: Penguin Press, 1994.Meyer, Richard. “Robert Mapplethorpe and the Discipline of Photography,” in The Lesbian and Gay Studies Reader, ed. Henry Abelove, Michele Aina Barale and David Halperin, 360-81. New York: Routledge, 1993.Mulvey, Laura. “Visual Pleasure and Narrative Cinema (1975),” in The Sexual Subject: A Screen Reader in Sexuality, ed. John Caughie, Annette Kuhn, Mandy Merck, and Barbara Creed, 22-34. London and New York: Routledge, 1992.Mulvey, Laura. “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ Inspired by Duel in the Sun (1981),” in Feminism and Film Theory, ed. Constance Penley, 69-79. New York: Routledge, 1988.Mulvey, Laura. “Cosmetics and Abjection: Cindy Sherman 1977-87,” in Cindy Sherman, ed. Johanna Burton, 65-82. Cambridge: MIT Press, 2006.Newton, Esther. “Role Models(1972),” in Camp Grounds: Style and Homosexuality, ed. David Bergman, 65-82. Amherst: University of Massachusetts Press, 1993.Parker, Roszika and Pollock, Griselda . “Critical Stereotypes: The Essential Feminine or How Essential is Femininity,” in Critical Stereotypes: The Essential Feminine or How Essential is Femininity, ed. Parker, Rozsika and Griselda Pollock, 21. New York: Pantheon Books, 1981.Rivière, Joan. “Womanliness As a Masquerade,” in Formations of Fantasy, ed. Victor Burgin et al, 35-44. London, 1986.Robertson, Pamela. Guilty Pleasures: Feminist Camp from Mae West to Madonna. Durham & London.: Duke University Press, 1996.Solomon-Godeau, Abigail. “Suitable for Framing: The Criticl Recasting of Cindy Sherman,” in Cindy Sherman, ed. Johanna Burton, 53-64. Cambridge: MIT Press, 2006.Sontag, Susan. “Notes on Camp (1964),” reprinted in Against Interpretation and Other Essays, 275-92. New York: DellPublishing, 1966.Stacey, Jackie. “Feminine Fascinations: Forms of Identification,” in Stardom: Industry of Desire, ed. Christine Gledhill, 141-63. London: Routledge, 1991.Stacey, Jackie. “Desperately Seeking Difference (1987),” in The Sexual Subject: A Screen Reader in Sexuality, ed. John Caughie, Annette Kuhn, Mandy Merck, and Barbara Creed, 244-57. London and New York: Routledge, 1992.van Eck, Caroline and Bussels Stijn. “The Visual Arts and the Theatre in Early Modern Europe,” in Theatricality in Early Modern Art and Architecture, ed. Theatricality in Early Modern Art and Architecture, 20. Malden: Wiley-Blackwell, 2011.Weiss, Andrea. “A Queer Feeling When I Look at You: Hollywood Stars and Lesbian Spectatorship in the 1930s,” in Stardom Industry of Desire, ed. Christine Gledhill, 286-87. London; New York: Routledge, 1991.〈四〉 英文期刊Almeida, Diana. “The Dimembered Body: Poe’s “The Man That Was Used Up”; Cindy Sherman’s Prosthetic Compositions,” The Edgar Allan Poe Review 11, no. 1 (Spring 2010): 168-69.G. Bernstein, Joanne. “The Female Model and the Renaissance Nude: Dürer, Giorgione, and Raphael,” Artibus et Historiae 13, no. 26 (1992): 58-63.Goffen, Rona. “Raphael`s Designer Labels: From the Virgin Mary to La Fornarina,” Artibus et Historiae 24, no. 48 (2003): 123-35.Hyde, Melissa. “The ‘Makeup’ of the Marquise: Boucher`s Portrait of Pompadour at Her Toilette,” The Art Bulletin 82, no. 3 (Sep 2000): 453-58.J Campbell, Erin. “Prophets, Saints, and Matriarchs: Portraits of Old Women in Early Modern Italy,” Renaissance Quarterly 63, no. 3 (Fall 2010): 807-10.Kennison, Rebecca. “Clothes Make the (Wo)man,” Journal of Lesbian Studies 6, (2002): 148-51.Leupin, Alexandre and Penwarden Charles. “Les secrets du Caravage / Sexy Painting: Caravaggio`s Come-ons,” Art-Press 287(February 2003): 57.McNeil Kettering, Alison. “Gentlemen in Satin: Masculine Ideals in Later Seventeenth-Century Dutch Portraiture,” Art Journal 56, no. 2 (Summer 1997): 41-47.Steorn, Patrik. “Curating Queer Heritage: Queer Knowledge and Museum Practice,” Curator the Museum Journal 55, no. 3 (Jan 2012): 355.〈五〉 網路資料A. Cloutier-Blazzard, Kimberlee, “Cindy Sherman: Her “History Portrait” Series as Post-Modern Parody,” Bread and Circus, accessed November 12, 2017, https://breadandcircusnetwork.wordpress.com/2007/07/29/cindy-sherman-her-%E2%80%9Chistory-portrait%E2%80%9D-series-as-post-modern-parody/.D. Marianacci, Caitlyn. “Old Masterpieces, New Mistress-pieces: Cindy Sherman`s Reinterpretations of Renaissance Portraits of Women,” Accessed March 24, 2018. http://scholarship.claremont.edu/scripps_theses/840/. 描述 碩士
國立政治大學
歷史學系
104153010資料來源 http://thesis.lib.nccu.edu.tw/record/#G0104153010 資料類型 thesis dc.contributor.advisor 朱靜華<br>劉瑞琪 zh_TW dc.contributor.author (Authors) 周亞澄 zh_TW dc.contributor.author (Authors) Zhou, Ya-Chen en_US dc.creator (作者) 周亞澄 zh_TW dc.creator (作者) Zhou, Ya-Chen en_US dc.date (日期) 2019 en_US dc.date.accessioned 5-Sep-2019 16:02:26 (UTC+8) - dc.date.available 5-Sep-2019 16:02:26 (UTC+8) - dc.date.issued (上傳時間) 5-Sep-2019 16:02:26 (UTC+8) - dc.identifier (Other Identifiers) G0104153010 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/125614 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 歷史學系 zh_TW dc.description (描述) 104153010 zh_TW dc.description.abstract (摘要) 本論文主要研究美國知名女藝術家辛蒂‧雪曼（Cindy Sherman）於1989-1990年間陸續發表以古典肖像為扮裝主題的《歷史人物肖像》（History Portraits/ Old Masters）系列作品。《歷史人物肖像》是充滿後現代特色的系列創作，雪曼在這些自拍照中挪用許多似是而非的古典繪畫元素，讓觀眾能夠產生彷彿欣賞精緻歷史肖像畫的視覺體驗，卻也因為不合時宜的主題與矯揉造作的扮裝效果，讓此系列作品充滿敢曝特徵，而具有讓觀者對其產生敢曝觀看的潛能。不論是古典時期的傳統精緻肖像，或資本主義社會中的主流視覺文化，人物的性別身分和性別氣質經常被建構成自然的本質論述，使異性戀彷彿社會中唯一合理的存在。本篇論文分別以女性主義敢曝和酷兒敢曝為主題，除了說明雪曼此系列作品的敢曝如何讓女性、酷兒觀者發現性別身分與氣質都是一種文化建構，也分析其如何使觀者從不同於傳統以男性視覺慾望為主的觀看位置對父權社會和異性戀霸權進行嘲諷，藉此獲得觀看的愉悅和能動性，甚至發現外於異性戀二元論述的酷兒身分與情慾存在。 zh_TW dc.description.tableofcontents 序論 1前言 1一、辛蒂‧雪曼簡介 1二、圖像世代 2三、雪曼與女性主義 4研究動機 6研究回顧 9研究方法 13章節安排 16第一章 《歷史人物肖像》的女性主義敢曝與女性觀者 18前言 18第一節 女性主義敢曝與女性觀者 21一、何謂女性主義敢曝 21二、女性觀者的敢曝閱讀 24第二節 古典女性人物肖像─過剩而踰越的扮裝敢曝 29一、神聖女性與母親 35〈一〉、哺育聖嬰的聖母 36〈二〉、懷孕的女體形象 38二、年邁的恐怖老嫗 41三、美艷動人的情婦與妻子 43四、典雅端莊的高貴女性 46五、致命女人／女英雄 48章節小結 52第二章 《歷史人物肖像》的酷兒敢曝與觀者 54前言 54第一節 酷兒敢曝─流動不居的性別主體與再現 57第二節 女扮男裝敢曝與觀者的酷兒閱讀 61一、過剩而人工的男性外觀─解構陽剛氣質的自然本質神話 63二、曖昧不明的雌雄同體─召喚酷兒觀者的慾望與認同 71第三節《歷史人物肖像》作為酷兒式的扮裝遊戲 78章節小結 86結語 88參考資料 92參考圖片 99 zh_TW dc.format.extent 4597202 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0104153010 en_US dc.subject (關鍵詞) 辛蒂‧雪曼 zh_TW dc.subject (關鍵詞) 歷史人物肖像 zh_TW dc.subject (關鍵詞) 敢曝 zh_TW dc.subject (關鍵詞) 觀者 zh_TW dc.subject (關鍵詞) 女性主義 zh_TW dc.subject (關鍵詞) 酷兒 zh_TW dc.title (題名) 觀看辛蒂‧雪曼《歷史人物肖像》中的女性主義與酷兒敢曝 zh_TW dc.title (題名) Cindy Sherman’s History Portraits and the Spectatorship of Feminist Camp and Queer Camp en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 〈一〉 中文書籍劉瑞琪，《陰性顯影：女性攝影家的扮裝自拍像》，台北市：遠流，2004。哈爾·福斯特（Hal Foster）著，呂健忠譯，《反美學：後現代論集》，台北市：立緒出版社，2013。琳達‧妮德（Lynda Nead）著，侯宜人譯，《女性裸體》，台北市：遠流出版，1995。瑪莉蓮‧亞隆（Marilyn Yalom）著，何穎怡譯，《乳房的歷史》，台北市：麥田出版社，2019。蘇珊．桑塔格（Susan Sontag）著，黃茗芬譯，《反詮釋：桑塔格論文集》，台北市：麥田出版，2008。〈二〉 中文期刊劉瑞琪，〈女性主義藝術史研究方法論〉，《近代中國婦女史研究》，第八 期（2000），195-235。劉瑞琪，〈呼喚紈褲女的隱藏名字？－1920年代柏倫妮斯．艾比特的同女作家肖像攝影〉，《文化研究》，第十三期（2011），7-56。〈三〉 英文書籍Ann Doane, Mary. “Film and the Masquerade: Theorizing the Female Spectator (1982),” in The Sexual Subject: A Screen Reader in Sexuality, ed. John Caughie, Annette,Mandy Merck, and Barbara Creed, 227-43. London and New York: Routledge, 1992.Bergman, David. ed. Camp Grounds: Style and Homosexuality. Amherst: University of Massachusetts Press, 1993.Brod, Harry. “Masculinity as Masquerade,” in The Masculine Masquerade: Masculinity and Representation, ed. Andrew Perchuk and Helene Posner, 13-20. Cambridge, MA and London: MIT Press, 1995.Butler, Judith. Bodies That Matter: On The Discursive Limits of “sex". New York: Routledge, 1993.C. Danto, Arthur. “Past Masters and Post Moderns: Cindy Sherman’s History portraits,” in History portraits, Photographs by Cindy Sherman, Essay by Arthur C. Danto, 5–13. New York: Rizzoli, 1991.Case, Sue-Ellen. “Towards a Butch-Femme Aesthetic,” in Camp : Queer Aesthetics and the Performing Subject - A Reader, ed. Fabio Cleto, 186-93. Edinburgh: Edinburgh University Press, 1999.Criqui, Jean-Pierre. “The Lady Vanishes,” in Cindy Sherman, ed. Régis Durand, Véronique Dabin, and Edwige Baron, 270-83. Paris: Flammarion, 2006.Cruz, Amada. “Movies, Monstrosities, and Masks: Twenty Years of Cindy Sherman,” in Cindy Sherman:Rretrospective, Amada Cruz, Elizabeth A.T. Smith, and Amelia Jones, 1-17. New York : Thames & Hudson, 1997.Davis, Whitney. “‘Homosexuality,’ Gay and Lesbian Studies, and Queer Theory in Art History,” in The Subjects of Art History: Historical Objects in Contemporary Perspective, ed. Mark A. Cheetham, Michael Ann Holly, and Keith Moxey, 115-42. Cambridge: Cambridge University Press, 1998.Döttinger,Christa, and trans by Mufson, Daniel. Cindy Sherman: History Portraits: The Rebirth of the Painted Picutre after the End of Painting. München: Schirmer Mosel, 2012.Dyer, Richard. “Judy Garland and Gay Men,” in Heavenly Bodies: Film Stars and Society, ed. Richard Dyer, 138-57. London and New York : Routledge, 2004.Fillen-Yeh, Susan. “Introduction: New Strategies for a Theory of Dandies,” in Dandies: Fashion and Finesse in Art and Culture, ed. Susan Fillen-Yeh, 1-34. NewYork: New York University, 2001.Halberstam, Judith. Female masculinity. Durham: Duke University Press, 1998.Halberstam, Judith. The Queer Art of Failure. Durham: Duke University Press, 2011.Hart, Lynda. Making A Spectacle : Feminist Essays on Contemporary Women`s Theatre. Ann Arbor: University of Michigan Press, 1993.Hart, Lynda. Acting Out : Feminist Performances. Ann Arbor: University of Michigan Press, 1989.Heartney, Eleanor. “Cindy Sherman: The Polemics of Play,” in After The Revolution: Women Who Transformed Contemporary Art, ed. John D’Agata, 168-88. Munich: Prestel, 2007.Kunzle, David. Fashion & Fetishism: Corsets, Tight-Lacing and Other Forms of Body-Sculpture. Stroud: The History Press, 2004.Linkof, Ryan. “A Disciplined Style: Fashion and Fetishism in the Art of Robert Mapplethorpe,” in Robert Mapplethorpe: The Photographs, ed. Paul Martineau and Britt Salvesen, 271-81. Los Angeles: Getty Publications, 2016.Meyer, Moe. ed. The Politics and Poetics of Camp. London & New York: Penguin Press, 1994.Meyer, Richard. “Robert Mapplethorpe and the Discipline of Photography,” in The Lesbian and Gay Studies Reader, ed. Henry Abelove, Michele Aina Barale and David Halperin, 360-81. New York: Routledge, 1993.Mulvey, Laura. “Visual Pleasure and Narrative Cinema (1975),” in The Sexual Subject: A Screen Reader in Sexuality, ed. John Caughie, Annette Kuhn, Mandy Merck, and Barbara Creed, 22-34. London and New York: Routledge, 1992.Mulvey, Laura. “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ Inspired by Duel in the Sun (1981),” in Feminism and Film Theory, ed. Constance Penley, 69-79. New York: Routledge, 1988.Mulvey, Laura. “Cosmetics and Abjection: Cindy Sherman 1977-87,” in Cindy Sherman, ed. Johanna Burton, 65-82. Cambridge: MIT Press, 2006.Newton, Esther. “Role Models(1972),” in Camp Grounds: Style and Homosexuality, ed. David Bergman, 65-82. Amherst: University of Massachusetts Press, 1993.Parker, Roszika and Pollock, Griselda . “Critical Stereotypes: The Essential Feminine or How Essential is Femininity,” in Critical Stereotypes: The Essential Feminine or How Essential is Femininity, ed. Parker, Rozsika and Griselda Pollock, 21. New York: Pantheon Books, 1981.Rivière, Joan. “Womanliness As a Masquerade,” in Formations of Fantasy, ed. Victor Burgin et al, 35-44. London, 1986.Robertson, Pamela. Guilty Pleasures: Feminist Camp from Mae West to Madonna. Durham & London.: Duke University Press, 1996.Solomon-Godeau, Abigail. “Suitable for Framing: The Criticl Recasting of Cindy Sherman,” in Cindy Sherman, ed. Johanna Burton, 53-64. Cambridge: MIT Press, 2006.Sontag, Susan. “Notes on Camp (1964),” reprinted in Against Interpretation and Other Essays, 275-92. New York: DellPublishing, 1966.Stacey, Jackie. “Feminine Fascinations: Forms of Identification,” in Stardom: Industry of Desire, ed. Christine Gledhill, 141-63. London: Routledge, 1991.Stacey, Jackie. “Desperately Seeking Difference (1987),” in The Sexual Subject: A Screen Reader in Sexuality, ed. John Caughie, Annette Kuhn, Mandy Merck, and Barbara Creed, 244-57. London and New York: Routledge, 1992.van Eck, Caroline and Bussels Stijn. “The Visual Arts and the Theatre in Early Modern Europe,” in Theatricality in Early Modern Art and Architecture, ed. Theatricality in Early Modern Art and Architecture, 20. Malden: Wiley-Blackwell, 2011.Weiss, Andrea. “A Queer Feeling When I Look at You: Hollywood Stars and Lesbian Spectatorship in the 1930s,” in Stardom Industry of Desire, ed. Christine Gledhill, 286-87. London; New York: Routledge, 1991.〈四〉 英文期刊Almeida, Diana. “The Dimembered Body: Poe’s “The Man That Was Used Up”; Cindy Sherman’s Prosthetic Compositions,” The Edgar Allan Poe Review 11, no. 1 (Spring 2010): 168-69.G. Bernstein, Joanne. “The Female Model and the Renaissance Nude: Dürer, Giorgione, and Raphael,” Artibus et Historiae 13, no. 26 (1992): 58-63.Goffen, Rona. “Raphael`s Designer Labels: From the Virgin Mary to La Fornarina,” Artibus et Historiae 24, no. 48 (2003): 123-35.Hyde, Melissa. “The ‘Makeup’ of the Marquise: Boucher`s Portrait of Pompadour at Her Toilette,” The Art Bulletin 82, no. 3 (Sep 2000): 453-58.J Campbell, Erin. “Prophets, Saints, and Matriarchs: Portraits of Old Women in Early Modern Italy,” Renaissance Quarterly 63, no. 3 (Fall 2010): 807-10.Kennison, Rebecca. “Clothes Make the (Wo)man,” Journal of Lesbian Studies 6, (2002): 148-51.Leupin, Alexandre and Penwarden Charles. “Les secrets du Caravage / Sexy Painting: Caravaggio`s Come-ons,” Art-Press 287(February 2003): 57.McNeil Kettering, Alison. “Gentlemen in Satin: Masculine Ideals in Later Seventeenth-Century Dutch Portraiture,” Art Journal 56, no. 2 (Summer 1997): 41-47.Steorn, Patrik. “Curating Queer Heritage: Queer Knowledge and Museum Practice,” Curator the Museum Journal 55, no. 3 (Jan 2012): 355.〈五〉 網路資料A. 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