2006-08-012024-05-18https://scholars.lib.ntu.edu.tw/handle/123456789/706604摘要：郝渥斯在晚期力作《新富的機運》當中安排了數位藝術家的角色，如寫作的March和繪畫的Beaton與Alma Leighton。然而一般討論本書中藝術創作與當時紛擾的社會現象的關連時，多忽略了Alma的角色。Alma的代表性一在事業與婚姻的抉擇，一在創作形式的抉擇。前者是郝渥斯為打破浪漫言情小說，反映現實常處理的題材，後者卻與小說中雜誌出版業的道德、藝術和商業考量，以及基督教社會主義的人道關懷與工業資本主義諸多弊病的衝突，糾葛在一起。 雜誌出版與插畫藝術在十九世紀末二十世紀初盛極一時，郝渥斯安排筆下的多位人物仰賴雜誌出版業為生，也藉此暴露了創作與牟利的難解難分。利益與良知是本書最主要的道德試煉之一，在文字創作方面郝渥斯將焦點放在言論自由，但是言論的賣點也許才是能否取得發表管道的決定因素；而在平面藝術方面郝渥斯也偏重市場取向與個人理念的難以兼顧。郝渥斯提出理想色彩的「公社」式的雜誌經營形式，似乎是對於資本主義的反動；然而小說中的雜誌社將此經營理念炒熱為話題，善於利用市場經濟的特質，又像是與消費社會的妥協。 此外，Alma在插畫與「純」藝術創作之間的舉棋不定，更暴露出男性主宰的藝壇賦予創作形式與品味優劣某些性別的意涵，例如女性作品做為文化消費品可以取悅女性讀者，「純」藝術的追求需要男性專注、智性的特質，女性特質則長於裝飾而內涵深度不足等等。女性插畫家在此一「美國插畫的黃金時期」開始嶄露頭角，相對而言女性作家在文壇上早已卓然有成（至少在銷售量方面），而在畫壇上女性畫家則是鳳毛麟角，能見度更低。有哪些歷史因素促成或侷限女性在不同藝術領域的發展可能？如果女性讀者的文化消費能力影響了出版業的走向，在平面藝術方面是否起了同樣的作用？這些相關問題也是本計畫想要探討的另一重點。 <br> Abstract: Among the several artists in William Dean Howells` late masterpiece _A Hazard of New Fortunes_, Alma Leighton has been mostly ignored in the discussions about art and social turmoil. A would-be illustrator who becomes a would-be painter after her first break, Alma`s story opens up the oft-neglected issue of gender in this panorama of New York City. On the one hand, faced with the choice between marriage and career, she opts for the latter—a plot device often adopted by Howells in defiance of the conventions of the romantic novel. On the other hand, she must choose between a more commercial artistic form and a more elitist one—which brings in the whole question of art and business, as exposed in Howells` treatment of the magazine enterprise in the novel and his Christian socialist views on the evils of industrial capitalism. Hazard depicts the cultural scene as the publication and illustration of magazines were reaching their peaks at the turn of the 20th century. The numerous characters in the novel who rely on the magazine for their livelihood enable Howells to delve into the relation between creativity and business. The conflict between profit and conscience is one of the major moral tests in the novel. For the fictional writers the issue circles around the freedom of speech—whether or not the capitalist can dismiss an employee on the grounds of incompatible political beliefs; at the same time, though, the selling point of a political stance probably determines whether or not it gets into print. The graphic artists, however, face the conflict between the preferences of the market place and that of the individual artist. As a solution to artistic integrity in the capitalist system, Howells idealistically proposes a magazine run as a partnership of all the contributors; yet the novelty of the idea generates talk and sales, to the extent that the co-operative magazine turns out to take advantage of the consumer society. Meanwhile, Alma’s hesitation between illustration and painting exposes the gendering of artistic production and aesthetic judgment in the male-dominated art world. Female work, as a cultural product, should appeal to female consumers, for instance, while the pursuit of "pure" art calls for such male qualities as disinterestedness and intellect; yet women artists, lacking depth, are thought to be mainly good at embellishment. Despite such prejudices, female illustrators nevertheless begin to win recognition during this "golden age of American illustration." In comparison, woman writers had already established themselves in the book market, at least in terms of popularity, for quite some time, but woman painters were yet few in numbers and low in profile. What historical factors promoted or hindered female artists’ development in different art forms? If female readers determined the sales of novels and helped make the woman writers, did they play a similar role in the consumption of female illustrations? This research proposes to look further into these issues as well.美國文學十九世紀郝渥斯《新富的機運》雜誌插畫女性藝術家American LiteratureNineteenth CenturyW. D. Howells_A Hazard of New Fortunes_magazineillustrationfemale artists