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前现代社会里,在父权制男权话语的严密控制之下,中国女性仅能通过三条途径获得有限的权力。前两条是女性通过成为家庭妇女(妻子/母亲)或公众女性(女演员与妓女)获得家庭话语权和社会影响力,这两条途径当然无法从根本上改变女性的从属地位与悲惨命运。第三条途径则是借助男性的性别优势,女扮男装。一方面,通过女扮男装,女性可以进入男性领域,并获得一定的公众影响力;但另一方面,女扮男装却巩固而非颠覆了男权制的性别角色,会更加导致女性自我认同的困惑。中国首部女性电影《人鬼情》,既是前现代花木兰故事的重演,同时也是对这一古代大团圆故事的消解。它表明女扮男装尽管使秋芸这样的女性取得了很大的成就,却并不能改变女性性别文化的处境、促进女性主体意识的建立。总之,在男权社会,这三条途径均未能给女性带来真正意义上的话语权。
In pre-modern society, under the strict control of patriarchal discourse of patriarchy, Chinese women can only gain limited power through three channels. The first two are women’s access to family discourse and social influence by becoming domestic women (wives / mothers) or public women (actresses and prostitutes), which of course can not fundamentally change women’s subordination and tragic fate. The third way is to use men’s gender advantages, disguised as men’s clothing. On the one hand, by disguising men’s clothing, women can gain access to the male sphere and gain some public influence; on the other hand, the disguise of the male role instead of subverting the male role of the sexist gender will further lead to women’s self-identity confused. China’s first female movie “Ghost” is not only a repeat of the story of the pre-modern Mulan, but also a resolution of the story of the ancient happy reunion. It shows that while disguising men makes a great accomplishment for women like Qiu Yun, it does not change the situation of female gender culture and promotes the establishment of the female subject consciousness. In short, in the patriarchal society, none of these three channels give women a true right to speak.