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本文从社会性别学、符号学、伦理学的理论视角出发,深入解析江苏民间舞蹈《男欢女喜》中的女性身体表征。在此基础之上提出:舞蹈身体作为文化符号的一种,其褒扬的价值倾向,完成了男权意志下对理想化女性身体气质的再生产。舞蹈身体提供着大量令人感官愉悦的动作形式,而这些形式被人为地赋予了刻板化的性别符号意义。它以一种“草根”的存在方式,将某一性别价值导入到人们的日常生活中,并成功地将隐含的性别话语“正常化”“合理化”。《男欢女喜》中的身体不同于社会性别体制的强制性制约,它以一种更为感性,更为宽松的方式发挥着效用,并最终唤起女性这一审美主体心理层面上的自我性别认同。
From the perspective of gender, semiotics and ethics, this paper explores the female body characteristics in “Folk Love and Joy” in Jiangsu folk dance. On this basis, it is proposed that the dance body, as a kind of cultural symbol, praises the value tendency and completes the reproduction of the idealized female body temperament under the patriarchal ambition. The body of dance offers a myriad of sensory and pleasing forms of movement that are artificially condemned to the stereotypical sign of gender. It introduces a certain gender value into people’s daily life in a “grassroots” way and successfully “implies” the gender discourse to “normalize” and “rationalize” it. The body in “Joy and Joy” is different from the mandatory restriction of the gender system. It plays a role in a more sensual and looser way and eventually arouses the female’s self-gender in the psychology of the aesthetic subject Agree