本文選題：華麗搖滾　切入點(diǎn)：跨性別　出處：《文化藝術(shù)研究》2017年03期

【摘要】：20世紀(jì)70年代興盛于英美的華麗搖滾及其帶動(dòng)的變裝表演,既成為女性主義及跨性別理論的分析戰(zhàn)場(chǎng),也讓時(shí)尚界看到了商機(jī):搖滾樂(lè)手們?nèi)我馀灿每鋸埖?視覺(jué)系"符號(hào),使身體成為追求跨性別認(rèn)同的表演;然而他們刻意追求的戲劇性和舞臺(tái)感,又不自覺(jué)地拉開(kāi)了與觀眾的距離,淡化了其激進(jìn)革命的力量。當(dāng)這場(chǎng)身體表演變得流行化與審美化之后,時(shí)尚消費(fèi)文化的介入,對(duì)原本反諷式的跨性別表演加以再次反諷,使性別革命變得模棱兩可。傳入日本成為視覺(jué)系搖滾,傳入中國(guó)轉(zhuǎn)變成"殺馬特""非主流"群體后,其中的革命性完全被商業(yè)化消費(fèi)所取代,跨性別身體表演最后反而強(qiáng)化了"菲勒斯中心主義"性別二元論。
[Abstract]:The ornate rock and cross-dressing performances that flourished in the United States and the United States in the 1970s became both a battleground for feminism and transgender theory, and a business opportunity for the fashion world: rock musicians arbitrarily misappropriated exaggerated "visual system" symbols. Make the body a transgender identity act; however, their deliberate pursuit of drama and a sense of stage unconsciously distanced themselves from the audience. Played down the power of its radical revolution. As the body performance became popular and aesthetic, fashion consumer culture stepped in to re-satirize the original ironic transgender performance. The gender revolution became ambiguous. When it was introduced into Japan to become a visual rock and into China into a "kill Matt" "non-mainstream" group, the revolution was completely replaced by commercial consumption. Transgender body performance eventually reinforces the gender dualism of Philistinism.
【作者單位】： 南京大學(xué)文學(xué)院;
【分類號(hào)】：G112

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