晚清女学的视觉呈现——以天津画报为中心的考察

发布时间：2018-01-27 16:51

本文关键词： 女学天津图像分析社会性别规范　出处：《近代史研究》2013年01期 　论文类型：期刊论文

【摘要】：自1844年第一所女学成立后,中国女学逐渐成为一个场域,其中,既展示了中西方权力的较量,亦呈现出中国男性知识人对自身力量边缘化的焦虑,以及中国传统女性文化在近代社会中所面临的挑战。晚清画报成为展现女学这一场域及其中各种力量较量的主要视觉媒介之一。本文拟以晚清时期天津的几份画报为例,探讨近代女学视觉展现的议题。从艺术表现形式来看,画者往往在图像内绘制观者,以引导阅读者迅速将视线投向图像中心,达到读图之效果。而且,观者对于女学的凝视,不仅限于男性对女性的性别凝视,也有社会阶层和身份认同的差异,甚或也会成为中外权力关系的表现方式。同时,画者也经常以细腻的笔触,有意识地在二维图像内,勾勒出一个"内外有别"的空间,使得近代女学和传统社会性别规范仍然有着千丝万缕的联系。
[Abstract]:Since the establishment of the first women's school in 1844, Chinese women's school has gradually become a field, which not only shows the power contest between China and the West, but also shows the anxiety of Chinese male intellectuals about their own power marginalization. And the challenge that Chinese traditional female culture faces in modern society. The late Qing Dynasty pictorial has become one of the main visual media to show the field of women's study and the contest of various forces in it. This paper intends to use several paintings of Tianjin in the late Qing Dynasty. For example. From the view of artistic expression, the artist often draws the viewer in the image, in order to guide the reader to quickly put his sight to the center of the image and achieve the effect of reading the picture. The gaze of the viewer on female learning is not only limited to the male gaze on the gender of the female, but also has the differences of social class and identity, and may even become the expression of the power relationship between China and foreign countries. At the same time. Painters often draw a space of "internal and external differences" in two-dimensional images, which makes modern women's studies and traditional social gender norms still inextricably linked.
【作者单位】：首都师范大学历史学院;
【分类号】：G776;G219.2
【正文快照】： 近代中国女学的产生和发展,在很大程度上源于西方殖民主义和中国民族主义的较量及互动。大致而言,自1844年第一所女学成立后,女学迅速成为一个具有公共性和公开性的议题。所谓公共性,是指女学成为一个在由各种媒介所组成的网络之中被呈现的对象,从严肃的报纸到以消遣为主的小

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