女性主义摄影中的哥特情结
摘要
长久以来女性没有属于自己的语言与历史,随着女性主义运动三次浪潮,女性主义艺术开始发展,但相对于女性艺术创作与女性主义艺术创作,关于女性艺术家与女性主义艺术家的研究,以及女性如何干预艺术史,将女性写进艺术史与人类的历史,还有很长的一段路要走。
在这种女性在历史中缺席的情况下,梳理以女性为主角的女性艺术,女性主义艺术与女性主义摄影的发展脉络。从而有助于在界定女性主义,区分女性艺术与女性主义艺术。结合女性主义运动与女性主义理论,研究女性主义摄影。以女性的视角解读摄影师辛迪·雪曼、安娜?门迪塔耶、荒木经惟、玛丽·爱伦·玛蔻的经典作品,用阴性书写的方式归结存在于他们摄影作品中的一种有独特风格,主要表现为对女性形象的颠覆,失语的绝望和女性主义的支撑。试图借用“女性哥特”这一目前文学领域的专有词汇,引入摄影领域。将这种不同以往传统的男权的角度,试图用影像发出自己的声音的一种独特的颠覆性的影像表达,蕴含死亡,血液,身体,性等的元素,体现痛苦与压抑,以女性主义的态度或是蕴含有达到女性主义倡导的关注女性生存,提倡男女平等的摄影作品归结为女性主义摄影中的哥特情结。以女性主义理论做支撑,借助法国学者米歇尔?福柯的经典理论与论述,辅以克尔凯郭尔的绝望理论分析这种独特摄影风格以及其产生的深层原因。
For a long time women don't have their own language and history. With the feminist movement three waves, feminist theory is being perfected gradually, feminist art is developing, various aspects of the research about feminism theory, which have been preliminary formated. Women intervening art history, reversing the state of aphasia and female written into the history of mankind is being known by more people, but the writing of art history about female has a long way to go.
The author studies process of the female feminist photography history which is a part of the female art history,to sum up a unique style of photography, to try to use "Female Gothic" the current literature field proprietary vocabulary, introduces in photography field, from a point of view which is different traditional male, implicated the element such as death, blood, body, sex and so on, to embody pain and depression, with feminist attitude or containing feminist theory advocacy to pay attention to women's survival, advocating the equality of the photography attributed to the feminist photography gothic complex.
From the female perspective, author unscramble the classic works of the famous grandmaster of film such as Ana Mendieta Cindy Sherman, Marry·Allen.Mark, to attributed to the gothic complex of feminist theory photography. It is a unique subversive images of expression, a voice of the feminism photographer trying to use images, which has a major research value. This paper is intended to use French scholars michel foucault's classical theory and discussion, along with the despair theory of kierkegaard to analysis the deep reasons that generate this unique photography style.
在这种女性在历史中缺席的情况下,梳理以女性为主角的女性艺术,女性主义艺术与女性主义摄影的发展脉络。从而有助于在界定女性主义,区分女性艺术与女性主义艺术。结合女性主义运动与女性主义理论,研究女性主义摄影。以女性的视角解读摄影师辛迪·雪曼、安娜?门迪塔耶、荒木经惟、玛丽·爱伦·玛蔻的经典作品,用阴性书写的方式归结存在于他们摄影作品中的一种有独特风格,主要表现为对女性形象的颠覆,失语的绝望和女性主义的支撑。试图借用“女性哥特”这一目前文学领域的专有词汇,引入摄影领域。将这种不同以往传统的男权的角度,试图用影像发出自己的声音的一种独特的颠覆性的影像表达,蕴含死亡,血液,身体,性等的元素,体现痛苦与压抑,以女性主义的态度或是蕴含有达到女性主义倡导的关注女性生存,提倡男女平等的摄影作品归结为女性主义摄影中的哥特情结。以女性主义理论做支撑,借助法国学者米歇尔?福柯的经典理论与论述,辅以克尔凯郭尔的绝望理论分析这种独特摄影风格以及其产生的深层原因。
For a long time women don't have their own language and history. With the feminist movement three waves, feminist theory is being perfected gradually, feminist art is developing, various aspects of the research about feminism theory, which have been preliminary formated. Women intervening art history, reversing the state of aphasia and female written into the history of mankind is being known by more people, but the writing of art history about female has a long way to go.
The author studies process of the female feminist photography history which is a part of the female art history,to sum up a unique style of photography, to try to use "Female Gothic" the current literature field proprietary vocabulary, introduces in photography field, from a point of view which is different traditional male, implicated the element such as death, blood, body, sex and so on, to embody pain and depression, with feminist attitude or containing feminist theory advocacy to pay attention to women's survival, advocating the equality of the photography attributed to the feminist photography gothic complex.
From the female perspective, author unscramble the classic works of the famous grandmaster of film such as Ana Mendieta Cindy Sherman, Marry·Allen.Mark, to attributed to the gothic complex of feminist theory photography. It is a unique subversive images of expression, a voice of the feminism photographer trying to use images, which has a major research value. This paper is intended to use French scholars michel foucault's classical theory and discussion, along with the despair theory of kierkegaard to analysis the deep reasons that generate this unique photography style.
引文
①陆蓉之:《女性运动的影响二-性紧张的焦虑时代》,《后现代的艺术现象》,页131。
①Rosenblum, Naomi. A History of Women Phptographers. New York: Abbeville Presspublishers, 1994.7,8
②顾铮2001《世界人体摄影史》上海上海文艺出版社14页
①克尔凯郭尔.致死的病症[M].京不特译.上海:三联书店,2004
②同上
①唐河《女性主义文学理论》女性主义美学探讨台北2003,91页
②常宁生.国际当代艺术家访谈录[M].南京:江苏美术出版社,2002
①Griselda Pollock著,陈香君译:《视线与差异:阴柔气质、女性主义与艺术历史》,页199。此词出自于史丹娜(Una Stannard)于1972年出版的同名论文中截取。原文如下:女人就是应该美丽的性别,谁会怀疑呢?……正如男人生而平等,女人生而美丽。
①(美)苏姗·格巴.空白之页与女性创造力[A].张京媛.当代女性主义文学批评[C].北京:北京大学出版社1992.161-187
②(美)凯特·米利特.钟良明译.《性的政治》[M].北京:社会科学文献出版社,1999年
①罗兰·巴特《明室》文化艺术出版社2003-1-1
②Marianne Fulton,”Essay”,p.11
①Elaine Showalter,The Female Malady;Women,Madness and English Culture,pp.78-83
②Karen Folger Jacobs,”Prologue,”P.10
③Fyodor Dostoevsky,A Writers Diary,trans.Lantz,Kenneth,Evanston;North western University Press,1994,p.1231
①Michel Foucault著,《疯癫与文明》,页101.
①(转引自Ramazanoglu,191)Ramazanoglu,C.(ed.) Up against Foucault, Explorations of Some Tensions Between Foucault and Feminism, Routledge, London and New York,1993.
①阴性书写是法国学派女性主义理论所发展出来的书写理论,主要成就为属于西苏的努力,阴性书写属于一种经验性书写,主要凸显女性气质,其书写皆在偏离菲勒斯中心论,以及关于阳性象征秩序下被边缘化,被缄默化和压抑的女性特质。需要说明的是法国女性主义者绝少使用阴性书写这个用词。克里斯蒂娜甚至隐指法国媒体太过炒热女性文体的大众市场,西苏的《美杜莎的微笑》是学界公认的阴性书写宣言,但她只是提到为女性的写作实践顶下定义是不可能的,却尚未提出阴性写书一词。据吉尔伯特所言,阴性书写一词应是美国学者在翻译之时传达的理念,继而通行于批评学界。祥参萧嫣嫣,《我思故我在-论西苏的阴性书写》,《中外文学》第二十四卷,第一期,1996年
②西蒙·波伏娃《第二性(全译本)》,陶铁柱译,北京:中国书籍出版社,1998年
③同上
①Nancy Armstrong,Desire and Domestic Fiction:Apolitical History of the Noverl,New York:Oxford Press,1987,pp.221-250.
②Elaine Showalter,The Female Malady:Madness and English Culture,pp.34
③Elaine Showalter,The Female Malady:Madness and English Culture,pp.4
①(Kourany, 362—363)Kourany,J.A.et al.(ed.) Feminist Philosophies,Prentice Hall,New Jersey,1992.
②克尔凯郭尔.致死的病症[M].京不特译.上海:三联书店,2004
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[2]林幸谦.《历史,女性与性别政治,重读张爱玲》[M].台北:麦田出版,2000年
[3]林蕾·格林.考比里亚·库恩编.陈引驰译.《女性主义文学批评》[M].台北:骆驼出版社,1995年
[4]顾铮.《世界人体摄影史》[M].上海:上海文艺出版社2001年
[5](丹麦)索伦·克尔凯郭尔.京不特译《致死的病症》[M].上海:三联书店,2004
[6]唐河.《女性主义文学理论》[M].台北:骆驼出版社,2003
[7](德)威廉·沃林格.张坚周刚译.《哥特形式论》[M].中国美术学院出版社2004年
[8](法)罗兰·巴特.《明室》[M].文化艺术出版社2003年
[9](法)西蒙·波伏娃.陶铁柱译.《第二性(全译本)》[M].北京:中国书籍出版社,1998年
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[30] Elaine Showalter,The Female Malady;Women,Madness and English Culture,pp.78-83
[31] Ramazanoglu,C.(ed.) Up against Foucault, Explorations ofSome Tensions Between Foucault and Feminism, Routledge, London and New York,1993.
[32] (Kourany,362—363)Kourany,J.A.et al.(ed.) Feminist Philosophies,Prentice Hall,New Jersey,1992.
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[44] Evans,A Short History of English Literature,Baltimore: Penguin,1963.
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[49] Elaine,Sisters’Choice: Tradition and Change in American Women’s Writing,oxford: Clarendon Press,1991.
[50] Robert Kiel,The Romantic Novel in England,Cambridge: Harvard UP,1979.
[51] Gary Needham, "Japanese‘Gothic’horror on film." In: J.McRoy (Ed.): Japanese Horror Cinema, Edinburgh 2005
[52] Lisa Hopkins:,Screening the Gothic. Austin: U.of Texas Pr., 2005
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[54] Jonathan Rigby, English Gothic. A Century of Horror Cinema. London 2004rev.ed.
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[57] Cindy Henderson, "(Re) Visioning the Gothic: Jane Campion’s The Piano." In: Literature/ Film Quarterly 26:2 .1998
[58] John Fletcher,"Primal scenes and the female gothic: Rebecca and Gaslight." In: Screen 36:4 (1995), pp.341-370Carol Gilligan. In A Different Voice
[59] Karen Folger "Jacobs,Prologue, " P.10
[60] Fyodor Dostoevsky, A Writer’s Diary, trans.Lantz, Kenneth, Evanston; North Western University Press, 1994, p.1231
Cindy Sherman http://www.artcyclopedia.com/artists/sherman_cindy.html
荒木经惟http://www.arakinobuyoshi.com/
Ana Mendieta http://www.artcyclopedia.com/artists/mendieta_ana.html
Marry·Allen.Mark http://www.maryellenmark.com/
①Rosenblum, Naomi. A History of Women Phptographers. New York: Abbeville Presspublishers, 1994.7,8
②顾铮2001《世界人体摄影史》上海上海文艺出版社14页
①克尔凯郭尔.致死的病症[M].京不特译.上海:三联书店,2004
②同上
①唐河《女性主义文学理论》女性主义美学探讨台北2003,91页
②常宁生.国际当代艺术家访谈录[M].南京:江苏美术出版社,2002
①Griselda Pollock著,陈香君译:《视线与差异:阴柔气质、女性主义与艺术历史》,页199。此词出自于史丹娜(Una Stannard)于1972年出版的同名论文中截取。原文如下:女人就是应该美丽的性别,谁会怀疑呢?……正如男人生而平等,女人生而美丽。
①(美)苏姗·格巴.空白之页与女性创造力[A].张京媛.当代女性主义文学批评[C].北京:北京大学出版社1992.161-187
②(美)凯特·米利特.钟良明译.《性的政治》[M].北京:社会科学文献出版社,1999年
①罗兰·巴特《明室》文化艺术出版社2003-1-1
②Marianne Fulton,”Essay”,p.11
①Elaine Showalter,The Female Malady;Women,Madness and English Culture,pp.78-83
②Karen Folger Jacobs,”Prologue,”P.10
③Fyodor Dostoevsky,A Writers Diary,trans.Lantz,Kenneth,Evanston;North western University Press,1994,p.1231
①Michel Foucault著,《疯癫与文明》,页101.
①(转引自Ramazanoglu,191)Ramazanoglu,C.(ed.) Up against Foucault, Explorations of Some Tensions Between Foucault and Feminism, Routledge, London and New York,1993.
①阴性书写是法国学派女性主义理论所发展出来的书写理论,主要成就为属于西苏的努力,阴性书写属于一种经验性书写,主要凸显女性气质,其书写皆在偏离菲勒斯中心论,以及关于阳性象征秩序下被边缘化,被缄默化和压抑的女性特质。需要说明的是法国女性主义者绝少使用阴性书写这个用词。克里斯蒂娜甚至隐指法国媒体太过炒热女性文体的大众市场,西苏的《美杜莎的微笑》是学界公认的阴性书写宣言,但她只是提到为女性的写作实践顶下定义是不可能的,却尚未提出阴性写书一词。据吉尔伯特所言,阴性书写一词应是美国学者在翻译之时传达的理念,继而通行于批评学界。祥参萧嫣嫣,《我思故我在-论西苏的阴性书写》,《中外文学》第二十四卷,第一期,1996年
②西蒙·波伏娃《第二性(全译本)》,陶铁柱译,北京:中国书籍出版社,1998年
③同上
①Nancy Armstrong,Desire and Domestic Fiction:Apolitical History of the Noverl,New York:Oxford Press,1987,pp.221-250.
②Elaine Showalter,The Female Malady:Madness and English Culture,pp.34
③Elaine Showalter,The Female Malady:Madness and English Culture,pp.4
①(Kourany, 362—363)Kourany,J.A.et al.(ed.) Feminist Philosophies,Prentice Hall,New Jersey,1992.
②克尔凯郭尔.致死的病症[M].京不特译.上海:三联书店,2004
[1]托里·莫伊著.陈洁诗译《性别、文本政治女性主义文学理论》[M].台北:骆驼出版社,1995年
[2]林幸谦.《历史,女性与性别政治,重读张爱玲》[M].台北:麦田出版,2000年
[3]林蕾·格林.考比里亚·库恩编.陈引驰译.《女性主义文学批评》[M].台北:骆驼出版社,1995年
[4]顾铮.《世界人体摄影史》[M].上海:上海文艺出版社2001年
[5](丹麦)索伦·克尔凯郭尔.京不特译《致死的病症》[M].上海:三联书店,2004
[6]唐河.《女性主义文学理论》[M].台北:骆驼出版社,2003
[7](德)威廉·沃林格.张坚周刚译.《哥特形式论》[M].中国美术学院出版社2004年
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