罗蕙锡小说的叙事性与绘画的互文性研究

发布时间：2018-01-29 15:29

本文关键词： 罗蕙锡小说绘画性女权主义情色　出处：《延边大学》2013年硕士论文　论文类型：学位论文

【摘要】：罗惠锡是1930年代韩国的具有代表性的女作家,画家兼女权运动家之一,通过各种形式表现了对人生和艺术的态度和观点。罗惠锡在波澜起伏的悲惨人生中展现出积极创新主体性的现代女性的精神面貌,在艺术性方面造就了崭新的道路。她的作品有散文65篇,小说6篇,诗集4篇,戏剧1篇等,每个作品的文学成就和当代男性作家相比也是毫不逊色的。不仅如此她在绘画领域也有一席之地,韩国近代美术研究学者李丘烈在重新研究未受瞩目的女性画家研究时发掘了,明确指出罗惠锡艺术可能性。罗惠锡通过生活表现出艺术,而在不同的艺术形式上都体现了女性解放这一共同目标。罗惠锡穿梭于不同领域展现出自己的人生,因此、解读作家罗惠锡和画家罗惠锡也需要整体研究。本研究力图解释罗惠锡小说和绘画所显现的现代女性主体的性意识,寻求其文学价值,阐明其小说与绘画之间的互文性。第一：从性意识角度分析《京姬》和《自画像》：京姬中的性用全景/背景,丰满的身体与历尽沧桑的疲惫身体的对立构架反映压倒性男权主义的现实,从而使京姬克服现实,形成独立性意识的过程；而在《自画像》中则描写出韩国女性经历的双重身份中寻求解脱的心愿。第二：以情色的角度分析《贤淑》和《裸妇》：《贤淑》中主人公贤淑用亲身经历暴露男权主义的论理的虚伪,在裸体画《裸妇》中没有把女性看成性爱的对象,反而以健美身材的女人为描写对象把女性和男性同等看待。在这些作品中罗惠锡不仅描述女性身体的一部分,更多的是追求全面描述脱离了传统的女性裸体画的属性；罗蕙锡通过《贤淑》与《裸妇》创造了抵抗社会陋习的新女性形象。第三：小说《怨恨》和绘画《孩子们》、《舞姬》可以说是暴露了男性主体的两面性。《怨恨》描述的是李小诅没有驯服于现有的生活而面临悲惨结局。作为寡妇,她的一切一性、生活都暴露在外,服从于封建社会的双重的性规范和不合理的现实；她的形象当中的扭曲的性意识婉转的评判男性主体的社会的陋习和观念；这在美术作品《孩子们》和《舞姬》中也充分体现男性主体的两面性。
[Abstract]:Luo Huixi is the 1930s South Korea representative writer, painter and one of the feminist movement, through various forms of life and art and the attitude. Luo Huixi reveals the modern female subject actively innovative spirit in the tragic life of ups and downs, in the art of creating a new path.
Her works have 65 essays, 6 novels, 4 poems, 1 drama text, each literary achievements and contemporary male writers also compared favorably. Not only that she also has a space for one person in the field of painting, modern Korean art scholars Li Qiulie discovered in the new study by research attention to the female artist when Luo Huixi clearly pointed out the possibility of art.
Luo Huixi shows art through life, and embodies the same goal of women's Emancipation in different artistic forms. Luo Huixi shows her life in different fields. Therefore, Luo Huixi and Luo Huixi need to be studied as a whole.
The purpose of this study is to explain the sexual consciousness of modern women in Luo Huixi's novels and paintings, to seek its literary value, and to clarify the Intertextuality between novels and paintings.
From the angle of consciousness: first analysis of Beijing < > and < >: self portrait in Beijing with panoramic / background, opposite frame plump tired body and experienced the vicissitudes of life reflect the overwhelming patriarchal reality, so that Beijing overcome reality, the formation process of independent consciousness and self in "; in the description of the portrait > wish to seek relief in the double identity of Korean women experience.
Second: the erotic Analysis > and < < a > a naked woman protagonist in your personal experience with the virtuous exposure of male chauvinism on hypocrisy, in the nude "naked woman > did not take the female as sex objects, but to fit women describe women and men equal to in these works, Luo Huixi not only describes a part of the female body, is seeking more comprehensive description from the attribute of the traditional female nude; Luo Huixi created a new image of women to resist social habits by < > and < > a naked woman.
Third: the novel < > and < hate painting children > >, < the dancers can be said to be exposed to the two sides of the male subject. Resentment that Li Xiaozu did not tame description > in the current life while facing the tragic ending. As a widow, all her life, all exposed, obedience to the double standard the feudal society and the unreasonable reality; the male subject of judging her image distortion of the consciousness of mildly social habits and ideas; both sides of the children in the art works < > and < > in the studio also fully embodies the male subject.

【学位授予单位】：延边大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I312.607.4;J205

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