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历史上的女性艺术创作,是作为“她们”而与处于主流文化之中的男性的“我们”相区别的。女性的艺术要符合男性主流文化观念,不但在内容上相一致,在形式上也要符合男性主流文化的艺术形态。无论是歌颂男性的丰功伟绩,叩谢男性统治的隆恩,还是将妇女这一次等性别定位于秀雅柔媚(反过来则是使女性具有“丈夫气”),实际上都显示出男性主流文化以“我们”的面目审视并选择“她们”的历史事实。 至于那些不曾被编入“正史”,作为地方民俗人文景观的民间美术中的女性艺术品,它们以符合民间祈福禳灾的愿望而流传着。虽然人们通常把这些民间艺术品视为两性共同的想象和愿望,但不能回避的事实是充斥在这类民俗文艺中的两性不平等的内容。主流文化不仅仅大社会上层发生作用,
The historical creation of female art is distinguished from the “we” of the male in the mainstream culture as “their”. Women’s art should conform to the mainstream male culture concept, not only in content, but also in the form of male mainstream culture should conform to the art form. Whether it is praising men for their great accomplishments, defeating Ron, who ruled men, or positioning women to wait and see for sex at this time (which in turn makes women “husbandly”), they actually show that male mainstream culture uses “we ”Look at and select the“ they ”historical facts. As for the female works of art which have not been incorporated into “Zheng Shi” and folk art which is a local folk and cultural landscape, they are circulated in line with the aspirations of civil blessings and disasters. Although people often consider these folk artworks as the common imagination and aspiration of both sexes, the unavoidable fact is the gender inequality that is filled with such folklore. The mainstream culture not only plays a role in the upper social strata,