Ulrike Rosenbach 是德國著名的錄像藝術家與表演藝術家，自1 0 年代開始 創作錄像藝術，其作品特別之處在於將錄像與表演結合，以作為溝通的媒材。她 也因此被視為「錄像表演藝術」（video-performance art）的先鋒。 Rosenbach 亦是活躍於1 0 年代的女性主義者，本文聚焦於她在此時期的 創作。Rosenbach 常以西方神話為題材，並引用西洋藝術史上著名男性藝術家的 作品，探討社會和歷史建構出的女性典型。本文擬從神話故事的論述出發，探討 Rosenbach 再詮釋藝術史傳統與神話題材的手法，並由女性主義觀點及符號學理 論，分析Rosenbach 如何看待她所選用的圖像―聖母瑪利亞、亞馬遜女戰士、 維納斯、梅杜莎等神話角色―與她自己身為一個女人與藝術家的關係，並深入 探究她如何反映女性在藝術再現中作為審美符號的建構。除此之外，作為錄像表 演藝術先鋒，Rosenbach 使用錄像科技的形式與概念也在討論之列。

Ulrike Rosenbach (born 1 ) is a well-known German artist, a pioneer of video art and performance art. She is part of an international group of artists which produced video as art media in the 1 0s. Her most significant method is to utilize video techniques as communication media in her performance space. Therefore she is called a pioneer of “videoperformance art.” Rosenbach was also an active feminist in the 1 0s; her works of this period are the object of this paper. She frequently takes the Western ancient mythology and the well-known artworks of European male artists as themes to illuminate the social and historical clichés concerning women. Using her narration of myths, the study investigates the manner and style of Rosenbach’s reinterpretation of the traditions of art history and mythology. The following questions are analyzed in the framework of feminist perspectives and semiotic theories: What is the relationship between the chosen images – Madonna, Amazon, Venus, Medusa – and Rosenbach herself as a woman and an artist? What is the reflection of Rosenbach on the construction of woman as symbol in mythic narrative and artistic representation? Moreover, the style and conceptualization in Rosenbach’s application of video techniques is also given consideration.