安德里斯．塞拉諾（Andres Serrano, 1950-）是美國當代備受爭議的攝影師，他的作品經常以邊緣事物為主題，拍攝素材則以屍體，人體、體液、宗教、糞便……等等為主要對象，製造出顛覆世俗社會既定印象的視覺意象。Serrano對禁忌議題的獨特詮釋方式，讓他在美國保守主義盛行的社會風氣下，成為保守派陣營的重點制裁對象。本文聚焦於他於1992年完成的《停屍間》作品集，我將從社會賤斥的理論切入，開拓性的將這系列屍體意象放在傳統遺體肖像攝影的藝術脈絡，和美國保守主義時期的政治與歷史脈絡下解讀，為當時缺少社會關注的死亡議題開啟具有視覺文化意義的另類實踐。本論文將分成二章，分別處理《停屍間》對美國1980年代保守派意識形態的針砭，及Serrano以美化的攝影手法，將屍體意象轉化爲具有人道精神的視覺表達：第一章針對
《停屍間》被污名化的社會文化脈絡，此缺乏視覺證據的指控顯示了保守派以符號審查抵制藝術發展的政治行動；第二章以《停屍間》中去個人化、人工化的拍攝技巧，凸顯這系列作品「解構」屍體意象再現的視覺記憶，然後再以口語化命題文字「重構」觀者對賤斥藝術的感知體驗，將生命終局的普遍性與共同性顯現出來，為觀者建立跨越生死對立的新理解途徑。本文將探析，Serrano以美感化的技巧拍攝令人反感、嫌惡的屍體，改變了賤斥藝術與社會互動的關係，從而替被保守意識形態驅逐與限縮的屍體意象，創造出既能傳遞人性與關愛情緒的美學形式，又能免於被保守社會建構收編的異質文化力量。

Andres Serrano (1950-) is a contemporary American photographer marked by controversies. His works often take marginal matters as the themes, with corpses, human bodies, bodily fluids, religion, feces, etc. as his main subjects of photography, to create visual imagery that subverts the established impressions of the secular society. Serrano’s unique interpretation of taboo issues has made him a key target of sanctions by the US conservative camp, a society where conservatism is prevalent. This study focuses on The Morgue series Serrano completed in 1992. The corpse images in this series will be examined from the perspective of social abjection theory, and unprecedentedly interpreted in the artistic context of post-mortem photography, alongside the political and historical context of the American conservatism era. The series opened up an alternative practice with significance of visual culture for the issue of death, which received little social attention at the time. This thesis consists of two chapters, respectively addressing how The Morgue critiqued the conservative ideology in the United States during the 1980s, and how Serrano transformed corpse images into humanitarian visual expressions through beautifying photographic techniques. The first chapter focuses on the socio-cultural context for the stigmatization of The Morgue. Such an accusation without visual evidence reveals the political action by which conservatives censored and resisted artistic development through symbols. The second chapter takes the de-personalized and artificialized photographic techniques employed in The Morgue to highlight how the series “deconstructed” corpse imagery to reproduce the visual memory, and then “reconstructed” the viewers’ perceptual experience of abjection-themed art with verbalized propositional texts. In this manner, the universality and commonality of the end of life was revealed and a new way of understanding across the dichotomy of life and death was established for the viewers. This study will explore how Serrano used aesthetic techniques to photograph repulsive and distasteful corpses, thereby changing the interactive relationship between abjection-themed art and society. Thus, an aesthetic form that could convey humanity and caring emotions, and a heterogeneous cultural force free from being incorporated by conservative social constructs were created for the corpse imagery that was driven out and restricted by conservative ideologies.

中文摘要 i
ABSTRACT ii
目錄 iv
圖版目錄 v
緒論 1
第一章《停屍間》對保守派意識形態的顛覆 35
第一節 保守主義當道下的工具性宗教 35
第二節 化宗教美感為對邊緣群體的人道關懷 41
第二章《停屍間》在當代屍體攝影的獨特地位 57
第一節 從遺體肖像攝影到當代屍體攝影的流變 57
第二節《停屍間》中超越賤斥的視覺實踐 66
結論 80
參考書目 83
圖版 89
附錄：目前可找到《停屍間》作品明細 101

中文專書：
海瑟．理察遜（Richardson Heather）著，林添貴譯，《通往自由之路：美國共
和黨的理想、墮落》（台北：八旗，2020）。
詹姆士．戴維森．韓特（James Davison Hunter）著，王佳煌、陸景文譯，《文
化戰爭：為美國下定義的一場奮鬥》，（台北：正中，1995）。
羅蘭．巴特（Roland Barthes）著，許綺玲譯，《明室：攝影札記》（台北：台
灣影像工作室，1997）。
理察．霍夫施塔特（Richard Hofstadter）著，陳思賢譯，《美國的反智傳統：
宗教、民主、商業與教育如何形塑美國人對知識的態度》（台北：八旗，
2018）。
蘇珊．桑塔格（Susan Sontag）著，刁筱華譯，《疾病的隱喻》（台北：大田出
版有限公司，2000）。

中文網路資料：
張美陵，〈「紀錄性」、「藝術性」、「觀念性」之間：謎團的視覺難題〉，
《報導者》，2021年2月7日。網址：between-documentary-artistry-
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uvL63qn-cKQ3V92uE > （2022.07.01檢索）
劉紀蕙，〈文化主體的『賤斥』——論克莉絲蒂娃的語言中分裂主體與文化恐
懼結構〉，《恐怖的力量》，2003年2月5日。網址：<http://www.srcs.nctu.edu.tw/joyceliu/mworks/kristeva/abjection.htm#3> （2020年9月19日檢索）

英文專書：
Athanassoglou-Kallmyer, Nina, “Ugly, Formless, Abject,” in Critical Terms for Art
History (Chicago: University of Chicago Press, 2003), pp. 290-295.
Arenas, Amelia, “The Revelations of Andres Serrano,” in Andres Serrano: Body and
Soul, ed. Brian Walls (New York: Takarajima Book, 1995).
Brinkema, Eugenie, “Spit*Light*Spunk: Larry Clark, an Aesthetic of Frankness,” in
Abjection Incorporated: Mediating the Politics of Pleasure& Violence, ed.
Maggie Hennefeld and Nicolas Sammond (North Carolina: Duke University
Press, 2020).
Bal, Mieke, “White Historgraphy,” in Quoting Caravaggio: Contemporary Art,
Preposterous History (London: The University of Chicago Press, 1999).
-----, “Baroque Bodies and the Ethics Vision,” in Andres Serrano: El Dedo en la
Llaga (Spain: Artium Museum, 2006).
Bataille, Georges, “Abjection and Miserable Forms,” in More and Less (Cambridge:
MIT Press, 1999).
Ferguson, Bruce, “Anders Serrano: Invisible Power,” in Andres Serrano: Body and
Soul, ed. Brian Walls (New York: Takarajima Book, 1995).
Hollander, Anne, “Drapery,” in Seeing Through Clothes (New York: Viking Press,
1993).
Hanson, Dian, “Biography,” in Andres Serrano: America and Other Work (German:
Taschen Press, 2004).
Hobbs, Robert, “Andres Serrano: The Body Politic,” in Andres Serrano: Works 1983-
1993 (Philadelphia: University of Pennsylvania, 1994), pp. 19-20.
Kristeva, Julia, “Approaching Abjection,” in Powers of Horror: An Essay On
Abjection (New York: Columbia University Press, 1982).
Linkman, Andrey, Photography and Death (London: Reaktion, 2011), pp. 14-17.
Mann, Sally, Hold Still: A Memoir with Photographs (New York: littlebrown, 2015).
Mey, Kerstin, “Corpus Delicti,” in Abject Vision: Power of Horror in Art Visual
Culture (UK: Manchester University Press, 2016), pp. 144-159.
Norfleet, Barbara P., “Death by Violence” in Looking at Death (Boston: David
R.Godine INC., 1993).
Ruby, Jay, Secure the Shadow: Death and Photography in America (Cambridge
Mass: MIT Press, 1995).
Steiner, Wendy, “Introduction: Below Skin-Deep,” in Andres Serrano: Works 1983-
1993 (Philadelphia: University of Pennsylvania, 1994).
Tyler, Imogen, Revolting Subjects: Social Abjection and Resistance in Neoliberal
Britain (London: Zed Books, 2013).
Walker, Christian, “Andres Serrano,” in Interventions and Provocations
Conversations on Art, Culture and Resistance (New York: State University of
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Yenawine, Philip, “Introduction: But What Has Changed,” in Art Matters: How the
Culture Wars Changed America, ed. Brian Wallis (New York: New York
University Press, 1999).

英文期刊：
Alain, Arnould, “Andres Serrano: Uncensored Photographs,” in Art and Christianity,
87: 1 (2016), p.14.
Fitzpatrick, Andrea D., “Reconsidering the Dead in Andres Serrano’s The Morgue:
Identity, Agency, Subjectivity,” in Canadian Art Review, 33: 1 (2008), pp. 28-
42.
Fusco, Coco, “Sublime Abjection: An Interview with Andres Serrano,” in Third Text,
5: 16-17 (1991), pp. 173-188.
Lippard, Lucy R. “Andres Serrano: The Spirit and The Letter.” in Art in
America, (Apr. 1990), pp. 239–240.
Sapikowski, Lauren, “The Faceless Portrait: Anonymity and Identity in Andres
Serrano’s The Morgue,” in HARTS& Mind: The Journal of Humanities and Arts,
1: 3 (Winter 2013-14), pp. 1-18.

英文網路資料：
Andrews, Travis M., “Behind the Right’s Loathing of the NEA: Two
“Despicable” Exhibits Almost 30 Years Ago,” in The Washington Post, 20 Mar. 2017. 網址：（2019年1月16檢索）
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（2019年06月10檢索）
Berke, Richard L., “House Approves Compromise Bill to Continue the Arts
Endowment,” in New York Times, 12 Oct. 1990, 網址：< https://www.nytimes.com/1990/10/12/arts/house-approves-compromise-bill-to-continue-the-arts-endowment.html > （2019年06月10檢索）
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月3檢索)
Serrano, Andres, “Artist Talk 2018,” in Royal College of Physicians, 25 Nov.
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英文博士論文：
Summersgill, Lauren Jane, “The Dead Outside Portraiture in Andres Serrano’s The
Morgue,” in Visible Care: Nan Goldin and Andres Serrano’s Post-mortem
Photography, PhD dissertation (Birkbeck University, 2014), pp. 109-172.