本文選題：舞女　切入點：青島　出處：《聊城大學(xué)》2011年碩士論文

【摘要】：本文以近代青島舞女為研究對象,在闡述近代交際舞傳入、受抵、幾經(jīng)起伏和舞廳在青島的興起發(fā)展概況的基礎(chǔ)上,通過對舞女的來源、從業(yè)動因、職業(yè)和收入方式、情感生活和歸宿以及舞女與國家、社會、民眾問的互動關(guān)系的考察和探究,來勾勒近代青島舞女群體真實的歷史的生活原貌,并從中尋找舞女群體在青島這一特殊場域中所具有的女性主體性。本文從諸多角度切入著意揭示具有現(xiàn)代意義的舞女在工作與生活中并非只是權(quán)力和社會主流道德倫理規(guī)訓(xùn)和建構(gòu)的被動受馭者,她們采用各種方式來爭取各自的自由和權(quán)利,甚至傾力與不義的權(quán)力抗?fàn)帯３酥?本文通過國家、社會、民眾和舞女本身相似的或矛盾的話語來探討1949年中國新政權(quán)建立前后舞女復(fù)雜社會角色是如何在歷史進(jìn)程中被建構(gòu)塑造而成的。 交際舞和舞廳在青島甚至是在整個近代中國經(jīng)歷了一段了解嘗試、小群體專享、群眾性消費、戰(zhàn)時特殊時期、病態(tài)繁榮、保留改造的過程,同時因跳舞業(yè)而出現(xiàn)的專門從事伴舞并以此為生的職業(yè)舞女同樣經(jīng)歷了一個相仿的演變道路。在學(xué)術(shù)界雖然對舞女的發(fā)展有一個較為統(tǒng)一的、宏觀的認(rèn)識脈絡(luò),但對舞女為何出現(xiàn)、從何而來?她們怎樣在舞廳這一特殊的場域內(nèi)靠身體換取生活資料?舞廳外和閑暇時的她們做著什么,活的怎樣?她們是否兼具第二甚至是第三種職業(yè)身份?國家、社會、民眾和舞女本身對待舞女身份分別是怎樣的態(tài)度?權(quán)力和社會主流話語通過怎樣的方式在不同的歷史時期何塑造出與之相應(yīng)的中國式交際舞文明,又是如何建構(gòu)出這一復(fù)雜的歷史的舞女形象這都成為還原近代舞女歷史原貌的關(guān)鍵。
[Abstract]:This article takes the modern Qingdao dancer as the research object, on the basis of expounding the introduction, receiving, several ups and downs of the modern ballroom dance and the rising and developing situation of the ballroom in Qingdao, through the analysis of the source of the dancer, the cause of the employment, the occupation and the income way.Emotional life and fate, as well as dance women and the country, society, the interactive relationship between the public to investigate and explore, to outline the modern Qingdao dance women group real history of the life of the original picture,And find out the female subjectivity of the dance women group in the special field of Qingdao.And even struggle with unjust power.In addition, this paper explores how the complicated social roles of dancers were shaped in the historical process through the similar or contradictory words of the state, the society, the public and the dancers themselves, before and after the establishment of the new regime in China in 1949.Ballroom dance and ballroom experienced a period of understanding and attempt in Qingdao and even throughout modern China. Small groups enjoyed exclusively, mass consumption, wartime special period, sick prosperity, and retained the process of transformation.At the same time, the professional dancers who specialize in dancing and make a living from the dance industry have also undergone a similar evolution.Although the academic circles have a relatively unified, macroscopic understanding of the development of dancers, but why and from where did the dancers appear?How do they exchange their bodies for the means of living in this special field of ballroom?What do they do outside the ballroom and in their spare time and how do they live?Do they have a second or even a third professional status?What are the attitudes of the state, society, people and dancers themselves towards the identity of dancers?How do power and social mainstream discourse shape the corresponding Chinese ballroom dance civilization in different historical periods?And how to construct the image of the dancer in this complicated history is the key to restoring the historical appearance of the modern dancer.
【學(xué)位授予單位】：聊城大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：K295.2

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本文編號：1710180