【摘要】：作為一類嶄新的女性形象,出現(xiàn)于蘇區(qū)瑞金的"工農(nóng)女性圖"與都市上海的"現(xiàn)代仕女圖"存在顯著差異:前者出現(xiàn)了男性美審美趨向,體現(xiàn)走出男性中心主義的努力;而后者的文化性別仍具傳統(tǒng)女性美學(xué)趣味�？傮w而言,"工農(nóng)女性圖"圖式體系的修辭特征、敘事效用以及新女性原型具有重要的類型價(jià)值,但這種原型對人的"圖像化"規(guī)訓(xùn),同時(shí)也會(huì)造成概念化圖像與具體化生活的矛盾,使女性重又陷入革命中心主義的怪圈。
[Abstract]:As a brand new female image, there is a significant difference between the "female map of workers and peasants" in Ruijin, the Soviet district, and the "modern lady map" of urban Shanghai: the former shows a trend of male beauty and aesthetic appreciation, which reflects the effort to walk out of the male-centrism; The latter's cultural gender still has the traditional female aesthetic interest. In general, the rhetorical features, narrative utility and new female archetypes of the schematic system of "Workers' and Peasants' Feminine Pictures" have important type value, but this kind of archetypes discipline people's "pictography". At the same time, it will cause the contradiction between conceptualized images and concrete life, and make women fall back into the strange circle of revolutionary centrism.
【作者單位】： 合肥學(xué)院中文系;
【基金】：安徽省哲學(xué)社會(huì)科學(xué)規(guī)劃項(xiàng)目(AHSKY2015D113) 2016年高等學(xué)校優(yōu)秀青年人才支持計(jì)劃重點(diǎn)項(xiàng)目(GXYQZD2016268)
【分類號】：J205

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