有關羅柏特˙羅森柏格(Robert Rauschenberg)藝術的研究至今仍存在著兩極化的爭議。這些研究者大致分成兩大陣營，其一是以圖像詮釋的方式，解讀羅森柏格作品中的意義。另一個陣營則將焦點放在再現的方法或作品形式與結構的特徵上，主張羅森柏格的作品具體表現了「後現代主義」藝術的敏感性。其代表是以「十月」期刊(October)為主的評論家：他們主張羅森柏格的藝術所提供的，是象徵的森林，這個象徵森林駁斥物件與影像中任何敘述或階級(次序)的存在。在「十月」期刊將羅森柏格藝術看作是後現代主義藝術的先驅者的論述軌跡中，羅森柏格被詮釋成一個陶醉於符號遊戲的藝術家，作品中的物件與影像沒有任何意義的運作，藝術家的自我在其中亦完全消失。羅森柏格因此被同化入後結構主義者理論，他的作者意識被與所謂的「作者已死」畫上等號、符號的無一致意義亦與解構主義的不確定性等同看待。本論文補充過去羅森柏格作為後現代藝術論述文本的遺缺，重新將羅森柏格的藝術放在個人生涯脈洛、以及1960年代的文化運動背景，檢示羅森柏格藝術中的「後現代的自我」、「新敏感性」、「平等主義」與「參與式的民主」，以及一種對未來樂觀期待的烏托邦精神，藉此將它定位在1960年代反文化的後現代。

Robert Rauschenberg’s scholarship has taken two opposing forms. The first is iconographical approach. They attempts to read the meaning in the images arranged randomly in the artist’ works. The other is represented by art critics of the journal October. They focus on the way of representation and the characters of forms, and claimed that Rauschenberg is a pioneer of Postmodern Art. They saw Rauschenberg’s works as forests of symbols, where there is no order or hierarchies dominate. In the trajectory of Postmodern art discourse, Rauschenberg is treated as a sample of 「The Death of the Author」, the way he uses images without definite meaning is assimilate to indeterminacy of Deconstructivism. In order to recover 1960s postmodern sensitivity of Rauschenberg’s art, this thesis surveys how homosexual tropes work in Rauschenberg’s random order works, thus to find the so called performative self and postmodern self. Besides, the parallel between Rauschenberg’s art and New Sensibility、egalitarianism、participatory democracy and utopia concept of 1960 counterculture will be expand to locate Rauschenebrg’s postmodern sensibility as 1960s counterculture postmodern.

參考文獻
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中文
1. 東野芳明: 現代藝術－以後，美術出版社，東京 1984.
2. 羅青:後現代主義，五四書店，台北，1989.
3. 陸蓉之：後現代藝術現象，藝術家出版社，台北，1990.
4. 王岳川：後現代主義文化研究，淑馨出版社，台北，1992.
5. 劉昌元：西方美學導論，聯經，台北，1994.
6. 滕守堯：過程與今日藝術，揚智，台北，1997.
7. 林賢修譯，Eric Marcus著：當代同性戀歷史(Making History), 開心陽光出版有限公司，台北，1997.
8. 段鍊：世紀末藝術的反思，上海文藝出版社，上海，1998.
9. 陳耀成：蘇珊˙桑塔格文選,, 一方出版, 台北, 2002
10. 周憲與許鈞編，顾爱彬與李瑞華譯，Matei Calinescu著：現代性的五副面孔(Five Faces of Modernity), 商務印書局，北京，2002.
11. 周憲與許鈞編，阎嘉譯，David Harvey著，：後現代的狀況─對文化變遷支援起的探究 (The Condition of Postmodernity—An Enquiry into the Origins of Cultural Change),商務印書局，北京，2003.
12. 洪揚: 當藝術成為一個疑問：解析後現代情境中的西方藝術世界，中央美術學院，北京，2004.
13. 陳晓明編：後現代主義，開封市，河南大學出版社，2004.
14. 伊夫-亞蘭˙博俄(Yve-Alain Bois):《歷史化還是計畫:我們又回到了老問題》，中國現代藝術博物館手冊，22, ?年代.
15. 引自讓-呂克˙夏呂姆著，劉芳等譯：解讀藝術　(La Lecture de L’Art)，文物出版社，北京，2005.

二　期刊與報紙
西文
1. Kenneth Bendiner: “Robert Rauschenberg’s ‘Canyon’”, Arts Magazines 56, March 1972, pp.57-59.
2. David Bourdon: “Art: Artforum Goes Political” Village Voice, Jan. 5 1976, p.68.
3. John Cage: “On Robert Rauschenberg, Artist and His Work”, Metro 2, May 1961, pp.36-51.
4. Leo Castelli: “Footnote”, Arts 32, no.8, May 1958, p.9
5. Hubert Crehan: “The See Change—Raw Duck,” Art Digest 27, September 1953, pp.21, 25.
6. Douglas Crimp: “On the Museum’s Ruins”, October 13, 1980, pp.41-57.
7. Editors, “About October”, October 1, Spring 1976, p.3.
8. James Fitzsmmons: “Art,” Art and Architecture 70, October 1953, pp.33-34.
9. Michel Foucault: “Of Other Space”, trans. Jay Miskowiec, Diacritics 16, Spring 1986, pp.22-27.
10. Suzi Gablik: “Light Conversation”, Artnews 67, November 1968, pp.58-60.
11. Emily Genauer, "Musings on Miscellany", New York Herald Tribune, 27 December 1953, Section IV, p.6.
12. Clement Greenberg: “Avant-garde and Kitsch”, Partisan Review 6, No.5, 1939, pp.34-49, reprinted in Frascina op. cit., pp.21-33.
13. Todd Gitlin: “Hip-Deep in Post-modernism”, New York Times Book Review 6 November 1968, pp.1, 35-36.
14. Robert Hughes: “The Arcadian as Utopian: Rauschenberg's Rhapsodic Energies Fill Four Manhattan Shows”, Time, 24 January 1983, pp.74-77.
15. Caroline A. Jones: “Cage and the Abstract Expressionism Ego”, Critical Inquiry, Summer 1993, pp.644-645.
16. Caroline A. Jones: “Finishing School: John Cage anf the Abstract Expressionism Ego”, Critical Inquiry, Summer 1993, pp.628-665.
17. Billy Klüer: “Four Diffcult Pieces”, Art in America 79, July 1991, pp.80-94.
18. Michael Kohler: “Postmodernisms: Eim bergniffsges c-hichtlicher Uberblick”, Amerikastudian, vol.22, 1977, pp8-18.
19. Richard Kostelantz : “A Conversation with Robert Rauschenberg”, Partisan Review 35, Winter 1968, pp.92-106 .
20. Max Kozloff: “American Painting and the Cold War”, Artforum 11, May 1973, pp.43-54.
21. Max Kozloff: editorial in Artforum, Dec 1975, p.7.
22. Hilton Kramer: “Muddle Marxism Replaces Criticism at Forum”, New York Times, Dec 1975, sev.D, p.40.
23. Rosalind Krauss: “Rauschenberg and Materialized Image”, Artforum 13, December 1974, pp.36-43.
24. Life, anon, “Speaking of Pictures”, 9 April 1951, pp.22-24.
25. Wallace Martin: “Postmodernism: Ultima Thule or Semi Anew”, Bucknell Reviewn 25, No.2, pp.142-154.
26. Leonard B. Meyer: “The End of the Renaissance”, Hudson Review 16, 1963, pp.178-180.
27. Frank O'Hara: “Review and Preview: Bob Rauschenberg”, Artnews 53, January 1955, p.47.
28. Craig Owens: “The Allegorical Impulse: Toward a Theory of Post-modernism” October, Spring 1980, pp.67-87.
29. Jeff Perrone: “Robert Rauschenberg”, Artforum 15, February 1977, pp.24-31.
30. "Robert Rauschenberg: An Audience of One", anon, Artnews 76, February 1977, p.46.
31. Barbara Rose: “The Problem of Criticism V: The Politics of Art, Part II”, Artforum 7, no.5, January 1969, p. 44-50
32. Robert Rosenblum: “In the Galleries－Robert Rauschenberg”, Arts Magazine 32, March 1958, p.61
33. Irving Sandler: “Ash Can Revisited,” Art International 8, October 1960, pp.28-30.
34. Dorothy Gees Seckler: "The Artist Speaks : Robert Rauschenberg", Art in America 54, May/ June 1966, pp.73-84.
35. Leo Steinberg: “Month in Review: Contemporary Group at Stable Gallery…,” Arts 30, no.4, January 1956, p.46.
36. Leo Steinberg: “Reflections on the State of Criticism”, Artforum 10, no 7, March 1972, pp.37-49.
37. Charles Stuckey: “Reading Rauschenberg”, Art in America 65, March-April 1977, pp.74-84.
38. John Tagg: “Postmodernism and the Born-Again Avant-Garde”, Block 11, June 1985, pp.3-7.
39. Time, anon, 16 August 1948, p.44
40. Andy Warhol and Pat Hackett: “In the Beginning. On the Origins of Pop Art and Other Matters,” New York Magazines, March 3 , 1980, p.60-68.

中文
1. 金宜蓁等譯,Eve Kosofky Sedgwick著: 「情感與酷兒操演」(Affect and Queer Performativity), 性／別研究，三、四期合刊，1998年9月, pp.90-108.
2. 趙梅:「美國反文化運動探源」，美國研究，2000, 第一期，pp.68-97.