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“他者”与“自我”—中国当代女性艺术的探寻

发布时间:2018-11-20 06:37
【摘要】:相对于西方来说,中国的女性艺术相较于中国漫长的艺术史还是一个年轻的概念,它没有西方女性主义思潮所建构、奠定的坚实的理论基础,也缺乏西方女性主义所具有的“夺权”意识。所以,,中国的女性艺术大多体现在“视觉的性别风格”,而缺少“颠覆男性艺术史和确立纯粹的女性主义意识形态”,并且以一种“和平”的状态来整理处于边缘“他者”的历史,拾回自己的“主体”位置。通过从萨特、康德的“自我”、“他者”二者转化的必然性来看,中国的女性艺术必然走出“他者”的边缘位置而成为“自我”主体。不过“自我”与“他者”在中国不同历史时期的女性艺术形态上都有着不同的表现。尤其进入当代以后,中国女性艺术的“自我”与“他者”的转换尤为明显,并从“他者”的位置崛起成为“自我”主体。女性艺术家从自我经历的题材入手,通过“身体”、“变异之花”以及打破“他者”传统的“自我”观念来叙说“我”的故事,表现出中国当代女性艺术家对中国传统女性的固定审美的反叛和女性对自身的迷恋,更表现出越来越多的女性艺术家开始不仅仅单纯停留在感性的思考方式和创作方式上,开始以理性、客观的态度和敏锐的感受力来关注女性在社会上的地位和存在问题,并且以个人经验从更高层次中介入当代艺术所关注的社会、民生问题。所以,1990年以来的中国女性艺术是较以往的一个杰出进步,是通过语言进行的一种自我拯救。在对“自我”的探索中,中国女性艺术家寻找到了适合自己创作的艺术方法及主题,并走上了个性化发展的道路。
[Abstract]:Compared with the long history of Chinese art, women's art in China is still a young concept compared with the West. It does not have a solid theoretical foundation established by Western feminism. It also lacks the consciousness of "seizing power" by western feminism. Therefore, women's art in China is mostly embodied in "visual gender style", but the lack of "subversion of the history of male art and establishment of pure feminist ideology". And sort out the history of the marginal "other" in a state of "peace" and pick up the position of "subject". According to the inevitability of the transformation of Sartre, Kant's "self" and "the other", Chinese female art will inevitably go out of the edge of the "other" and become the subject of "self". However, "self" and "other" have different expressions in the forms of female art in different historical periods in China. Especially after entering the contemporary era, the transformation between "self" and "other" in Chinese women's art is especially obvious, and it rises from the position of "other" to the subject of "self". Starting with the subject matter of self-experience, female artists describe the story of "I" through "body", "the flower of variation" and the idea of "self", which breaks the tradition of "the other". It shows the Chinese contemporary female artists' rebellion against the traditional Chinese women's aesthetic and the women's infatuation with themselves, and more female artists begin to stop at the perceptual way of thinking and creation. It begins to pay attention to the status and problems of women in society with rational, objective attitude and keen sensibility, and to intervene in the social and livelihood issues concerned by contemporary art from a higher level with personal experience. Therefore, the Chinese female art since 1990 is an outstanding progress compared with the past, it is a kind of self-salvation through language. In the exploration of "self", Chinese female artists have found suitable artistic methods and themes for their own creation, and have embarked on the road of individualized development.
【学位授予单位】:东北师范大学
【学位级别】:硕士
【学位授予年份】:2013
【分类号】:J120.9

【参考文献】

相关期刊论文 前3条

1 滕宇宁;;女性作为借口——女性主义艺术的局限性[J];东方艺术;2007年01期

2 王丽丽;;试论女性主义观照下的他者[J];美与时代(下);2010年04期

3 陶咏白;;“进行时”女性艺术——从女性的“自觉”走向人的“自由”[J];中国艺术;2008年04期



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