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浙江大学学报(人文社会科学版)  2024, Vol. 54 Issue (6): 151-160    DOI: 10.3785/j.issn.1008-942X.CN33-6000/C.2024.04.241
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从性别角色到身体处境:解读中国当代女性主义艺术中的“母亲”形象
白珊
同济大学 人文学院,上海 200092
From Gender Role to Physical Situation: Interpreting the Image of “Mother” in Contemporary Chinese Feminist Art
Bai Shan
School of Humanities, Tongji University, Shanghai 200092, China

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摘要 社会文化总是将母亲提炼到“母爱”和“母性”的伦理价值维度中,但是这种话语制度却与日常经验中的作为主体的母亲之间有巨大的差距。如何在普遍的符号表象背后,找寻真实的母亲形象以及具体的生命处境,就成为问题的症结所在。而中国当代女性主义艺术家们则在生为女人又作为母亲的亲身体验中,使得母亲的创造力不仅仅限制在生育孩子方面,而是经由她们性化身体的涵养与持有,用艺术创作的方式,使得陌生而又熟悉的母亲重新以她们自身独特的形象,自在且自为地显现出来。
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白珊
关键词 母亲身体空间母女关系女性主义    
Abstract:The social and cultural construction of “motherhood” extends beyond the transformation based on women’s reproductive capabilities. It also positions mothers as “sacrificial figures”, placing them in the role of objects and subjecting them to both the praise and neglect of civilized discourse. “Maternal love” and “maternity” are not merely life instincts but constitute the authentic situation of every living mother. Contemporary Chinese feminist artists do not dwell on the hardships of these situations; instead, they actively seek out unique and living mother through specific artistic endeavors, thereby presenting the real images of mother. Specifically, contemporary Chinese feminist art revisits the origins of the maternal image, particularly in the pregnancy activities. Here, the phenomenon of pregnancy for mothers is not portrayed as the ease and beauty often depicted in mainstream media. Instead, feminist artists, through their own experiences of pregnancy, directly confront every pain, depression, fear, and excitement, thus confirming their current selves amidst the uncertainties of self-alter. Simultaneously, the spatial schema of mother is also reversed in the individual experiences of feminist artists. Mothers are not rootless “wanderers”, instead, they enjoy the movement in their own space, emphasizing the rich connotations of “mother as the space”. In fact, the societal role of motherhood not only constrains maternal creativity but also results in long-standing deficits in mother-daughter relationships. Unable to uncover the inter-subjectivity relationship between mother and daughter through conventional modes of discourse, contemporary Chinese feminist artists turn to their own bodily postures and movements to render these relationships intelligible. It is precisely in the unreserved confrontation of flesh with flesh that they can finally embrace the sexualized bodies of each other, empathize with one another, listen to each other’s narratives, and perceive each other’s essence, and present diverse and distinct images of mother in a liberated practice.This research attempts to reconcile feminist conceptual themes with artistic phenomena. To achieve this, it primarily employs relevant feminist concepts and definitions to reorganize, analyze, and evaluate contemporary Chinese feminist art. While grounded in this theoretical framework, this researches also incorporates the method of iconography to bridge the visible and invisible, so as to delve into the nuanced connotations of the image of mother in feminist art. Additionally, it draws upon theories such as existentialism, phenomenology, semiotics, and cultural studies to broaden the multifaceted dimensions of the maternal image and to explore the possibilities of theoretical boundaries with concrete life experiences and artistic phenomena.The study of contemporary Chinese feminist art is still in its nascent stages within the academia. Breaking away from traditional societal gender roles and binary discourses, and interpreting art from a feminist perspective represent an entirely new field of inquiry. In terms of frequency, while there are articles and publications focusing on the portrayal of the image of mother, discussions often revolve around artworks created by male artists or remain superficial, merely touching upon the meaning of “maternal love” without delving into the invisible significance and connotations of these works. Therefore, both academically and methodologically, this research stands at the forefront of exploratory research. By expanding the scope of feminist art analysis and deepening the theoretical dimensions of Chinese feminist art criticism, this research also signifies a pioneering effort in this field.
Key wordsmother    body    space    mother-daughter relationship    feminism   
收稿日期: 2024-04-24     
作者简介: 白珊(https://orcid.org/0009-0003-9522-5746),女,同济大学人文学院博士研究生,主要从事女性主义理论及艺术批评研究;
引用本文:   
白珊. 从性别角色到身体处境:解读中国当代女性主义艺术中的“母亲”形象[J]. 浙江大学学报(人文社会科学版), 2024, 54(6): 151-160. Bai Shan. From Gender Role to Physical Situation: Interpreting the Image of “Mother” in Contemporary Chinese Feminist Art. JOURNAL OF ZHEJIANG UNIVERSITY, 2024, 54(6): 151-160.
链接本文:  
https://www.zjujournals.com/soc/CN/10.3785/j.issn.1008-942X.CN33-6000/C.2024.04.241     或     https://www.zjujournals.com/soc/CN/Y2024/V54/I6/151
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