本文選題：世界體系理論 + 區(qū)域主義��； 參考：《江海學(xué)刊》2017年04期

【摘要】：以伊懋可、安德烈·貢德·弗蘭克、黃宗智、維克多·李伯曼、彭慕蘭和王國(guó)斌為代表的一批亞洲史專家借鑒區(qū)域理論對(duì)世界體系理論提出了批評(píng)和改進(jìn)。我從區(qū)域主義者對(duì)世界體系理論的批判之處出發(fā),集中論述1919~1941年間在全球爆發(fā)的"摩登女郎"現(xiàn)象這一歷史案例,提出以下觀點(diǎn):摩登女郎現(xiàn)象是一個(gè)世界范圍的女性事件的一個(gè)標(biāo)志性案例,有其內(nèi)在的事實(shí)程序和事件性特質(zhì)。女性的特殊性并不依賴于區(qū)域地形學(xué)。以女人為主題的、獨(dú)一無(wú)二的普遍性事件,就是拉克勞所稱的一種具體的抽象或者世界范圍事件,也就是巴迪歐所稱的"事件"。"女性事件"(the event of women)是指在帝國(guó)主義和反帝國(guó)主義政治領(lǐng)域中,發(fā)生在全球殖民現(xiàn)代世界中的特定的歷史啟示。蜉蝣廣告這種視覺(jué)圖像就像一種詩(shī)意的表達(dá)。與其他現(xiàn)代繪畫(huà)類型一樣,商業(yè)藝術(shù)事實(shí)上是一種女性圖像和商品圖像的自我指涉性的、有組織的經(jīng)驗(yàn)。通過(guò)這些商業(yè)摩登女郎廣告戰(zhàn)的例子,關(guān)注的是資本(一種普世價(jià)值)與其在本土的范例。這些海報(bào)以圖證明了一系列內(nèi)在關(guān)聯(lián)的現(xiàn)代女性的圖像和圖像中女郎出現(xiàn)之地所具有的"使用價(jià)值的其他景觀"之間的同形異名性。這些商業(yè)女性圖像作為現(xiàn)代民族主義、現(xiàn)代治理術(shù)、公民的現(xiàn)代文化話語(yǔ)中的"女性"概念,出現(xiàn)在從埃及、中東到日本殖民地、印度和中國(guó)的反帝國(guó)主義運(yùn)動(dòng)中。同時(shí),與這些圖像的相似的內(nèi)容和與之相應(yīng)的力量也通過(guò)呈現(xiàn)一種同形異名性或者無(wú)限異質(zhì)的、多種聲音的圖像,向歷史學(xué)家呈現(xiàn)一種視覺(jué)的詩(shī)學(xué)。
[Abstract]:A group of Asian history experts, represented by Imaoko, Andre Gonde Frank, Huang Zongzhi, Victor Lieberman, Peng Muran and Wang Guobin, criticized and improved the theory of the world system based on regional theory. Starting from the regionalists' critique of the theory of the world system, I focus on the historical case of the "modern girl" phenomenon that broke out in the world between 1919 and 1941. The following points are put forward: the modern girl phenomenon is an iconic case of a worldwide female event, with its inherent factual process and eventful characteristics. The particularity of women does not depend on regional topography. A unique universal event with a woman theme is what Laclau calls a concrete abstract or world-wide event, or "event" as Badio calls it. " Women's incident "the event of women)" refers to the specific historical revelation that occurs in the modern world of global colonization in the fields of imperialism and anti-imperialist politics. The visual image of mayfly advertising is like a poetic expression. Like other types of modern painting, commercial art is in fact a self-referential, organized experience of female and commodity images. In these examples, the focus is on capital (a universal value) and its homegrown model. These posters illustrate the homonym between a series of intrinsically related images of modern women and the "other landscapes" in which the girls appear. These images of women in business as concepts of modern nationalism, modern governance, and modern cultural discourse of citizens appear in anti-imperialist movements from Egypt to the Middle East to the Japanese colonies, India and China. At the same time, the similar contents and corresponding forces of these images also present a visual poetics to historians by presenting an image of homomorphism or infinite heterogeneity and multiple sounds.
【作者單位】： 美國(guó)萊斯大學(xué)歷史系;南京師范大學(xué)金陵女子學(xué)院;南京大學(xué)藝術(shù)學(xué)院;
【分類號(hào)】：C913.68

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