【摘要】： 本文以1927-1945年的舞女為研究對象,在闡述舞廳發(fā)展變化和舞廳內(nèi)部運行規(guī)則的基礎(chǔ)上,通過對舞女群體出現(xiàn)的背景和發(fā)展變化加以考察以及對舞女的工作與愛情、婚姻的探討,來勾勒舞女群體的真實生存面貌,并從中尋找舞女群體所具有的現(xiàn)代性與主體性。本文認為舞女是一群具有現(xiàn)代意義的職業(yè)女性,她們在工作中具有較大的自由和“權(quán)力”,與傳統(tǒng)家庭女性相比擁有更多的追求愛情、自由婚姻的機會,而且她們在舞廳這個特殊的公共空間中向傳統(tǒng)的男強女弱的性別關(guān)系提出了挑戰(zhàn)。那么我們現(xiàn)在對于舞女的印象是如何形成的呢?本文通過考察時人對舞女的不同言說和舞女的自我應(yīng)對來探討舞女的形象是如何在錯綜復(fù)雜的關(guān)系中被建構(gòu)起來的。 全文共分緒論、正文、結(jié)語三個部分,正文分為六節(jié): 第一節(jié)闡述1927-1945年期間舞廳的發(fā)展變化和時人對于去舞廳跳舞現(xiàn)象的看法;第二節(jié)介紹舞廳內(nèi)部人員及其職責(zé)和舞客在舞廳內(nèi)跳舞需要遵守的規(guī)則;第三節(jié)探討舞女群體出現(xiàn)的背景和舞女群體在此段時期的發(fā)展變化;第四節(jié)通過介紹了舞女對待舞客的一些花招和伎倆,著重論述舞女在舞廳里伴舞時的主體性;第五節(jié)通過對舞女的愛情和婚姻的考察,論述舞女在舞廳中對男強女弱的傳統(tǒng)性別關(guān)系的挑戰(zhàn);第六節(jié)通過時人對于舞女的不同言說和舞女的自我應(yīng)對來分析舞女形象是如何被人們和舞女自己建構(gòu)起來的。
[Abstract]:This paper takes the dancers from 1927 to 1945 as the research object, on the basis of expounding the development and changes of the dance hall and the internal operation rules of the dance hall, through the investigation of the background and development of the dance girl group, as well as the discussion of the work, love and marriage of the dance girl group, to outline the true living face of the dance girl group, and to find out the modernization and subjectivity of the dance girl group. This paper holds that dancers are a group of professional women with modern significance, who have greater freedom and "power" at work, and have more opportunities to pursue love and free marriage than traditional family women, and they challenge the traditional gender relationship between men, strong women and weak men in the special public space of ballroom. So how do we form our impression of dancers now? This paper discusses how the image of the dancer is constructed in the complicated relationship by investigating the different words of the dancer and the self-response of the dancer. The full text is divided into three parts: introduction, main body and conclusion. The main body is divided into six sections: the first section expounds the development and changes of the ballroom during 1927-1945 and the people's views on the phenomenon of going to the ballroom; the second section introduces the ballroom staff and their responsibilities and the rules that dancers should abide by in the ballroom; the third section discusses the background of the emergence of the dancers and the development and changes of the dancers in this period. The fourth section introduces some tricks and tricks of dancers towards dancers, focusing on the subjectivity of dancers when dancing in the ballroom; the fifth section discusses the challenges of dancers to the traditional gender relationship between men and women in the ballroom through the investigation of dancers' love and marriage; and section VI analyzes how dancers' images are constructed by people and dancers themselves through the introduction of some tricks and tricks on dancers' treatment of dancers; the fifth section discusses the challenges of dancers to the traditional gender relationship between men and women in the ballroom; and the sixth section analyzes how dancers' images are constructed by people and dancers themselves through the introduction of some tricks and tricks for dancers to treat dancers.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：K295.1;K263;K265

【引證文獻】

相關(guān)碩士學(xué)位論文 前1條

1 翟輝;20世紀二三十年代上海的娛樂空間及其分層研究（1927-1937）[D];華東師范大學(xué);2008年

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本文編號：2508247