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清末民初石印画报在知识分子希图开启民智的诉求中应运而生,天津出版的《醒俗画报》、《人镜画报》针砭政治时弊、批判社会陋习,为处于失语状态的女性群体留下了被揣摩的映像,为分析女性的特质如何被符号式地定位在“传统”和“现代”框架之内提供样本。清末民初知识分子们既把女性纳入了培养国民之母的计划之内,又把女性“缺乏教养”视为“封建落后”的象征。对于清末民初知识分子有关女性生活批判应给予再批判。由于男性知识分子掌握了记录历史的权力,所以选取什么样的“新闻”视角,如何诠释历史事实,皆反映了他们的思维特征,与所处的时代认识水平密切相关。清末民初的男性知识分子将其所感受的国族困境投射在“她者”身上,通过对“她者”的批评树立起男性知识分子的社会形象。社会性别关系折射出深层的社会结构,深入地诠释了时代的变革话语。
In the late Qing Dynasty and the early Republic of China, lithographs came into being in the hope of intellectuals trying to open their wisdom. The “wake-up pictorial” and “human mirror pictorial” published in Tianjin criticized the political shortcomings, criticized the social bad habits and left the women group in aphasia The imagery was examined to provide a sample for analyzing how women’s traits are symbolically positioned within the “traditional” and “modern” frameworks. At the end of the Qing Dynasty and the beginning of the Republic of China, the intellectuals included both women in the plan of nurturing the mother of the motherland and the symbol of the female “lack of parenting” as the “feudal backwardness”. For the criticism of women’s life by the intellectuals during the late Qing dynasty and early Republic of China, they should be re-criticized. Since masculine intellectuals have the power to record history, the selection of what kind of “news” perspective and interpretation of historical facts reflect their thinking characteristics are closely related to the level of cognition of the times in which they live. Male intellectuals in late Qing Dynasty and early Republic of China projected the national predicament felt by them on the “She,” and established the social image of male intellectuals through criticism of “She ”. Gender relations reflect the deep social structure and deeply interpret the discourse of change in the era.