Study on “the Paranoiac- Criticism” of Salvador Dalí

• Main Authors: Yang Yen Yun, 楊衍畇
• Other Authors: Wang Jer-Shyong
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/11648356720614106280

博士 === 國立臺灣師範大學 === 美術學系 === 97 === As Rationalism has dominated human thoughts in the West for centuries, this leads to the ceaseless repression upon sensations, contradictory to rationalism, to the simplification of value judgments, to the crisis of the human civilization. Born of the French Revolution, Romanticism represents the liberation of the negated emotions for centuries, and of the intolerant multiple ideologies. The public often regards the artists, who think unusually or behave eccentrically, as the insane. However, the madness isn’t negatively valued in the psychoanalytic studies; moreover, Salvador Dalí employs the madness as the core concept of his own creations, and develops the ‘paranoiac-critical’ method. Differed from the automatism of the Surrealist group, Dalí allows his conscious to predominate during creation. Once the visible image is affected by sensations, the actual image will be distorted to accord with the ‘inner model’. While the image is making, Dalí emphasizes on the writing of interpretive texts, and intends to reason the process of associating paranoiaclly with the image. This reasoning is not based on rationality and logics, but on sensations and intuitions. From Dalí’s life history and creation expression, the author observes that the ‘Paranoiac-Critical’ method which Dalí brought up in 1929 as his creation idea and the practical technique has been continuously employed in Dalí’s lifetime creations. In his creation texts, it can be found the intention that Dalí has to transcend the third dimension. In Dalí’s art are also reviewed the issues on the originality and the duplication of the images, the multiple possibilities of image reading, the immersion of mass culture into human unconscious, or the high valuation to the femininity and the heterogeneity, and the play on the sacred /the profane. Therefore, Dalí’s ‘ Paranoiac-Criticism’ cannot be judged according to the dualism as the modernity or the postmodernity any more. Dalí overflows constantly his ‘libido’, continues to absorb the philosophical elites of all times, and selects intuitionally the images in the daily life, converting and embodying them in his interdisciplinary creations, accomplishing Dalí’s ubiquitous artistic achievement.