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題名:性別、族裔、母性再現:第三世界母親藝術家的跨藝術/跨文化研究
作者:賴孟君
作者(外文):Lai, Mengchun
校院名稱:輔仁大學
系所名稱:跨文化研究所比較文學博士班
指導教授:簡瑛瑛
學位類別:博士
出版日期:2012
主題關鍵詞:性別族裔母性再現第三世界母親藝術家跨藝術跨文化比較文學視覺文化後殖民邊緣論述女性主義genderethnicityrepresentation of maternitythird worldmother-artistinter-artscross-culturalcomparative literaturevisual culturepost-colonialmarginal discoursefeminism
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本論文主要緣起於筆者博士班求學期間,從自我為母經驗與多重角色之日常與學術衝突平衡問題中,覺察到母親主體聲音在文化當中的極為匱乏與母親角色之文化解釋過於西方觀點面向,在個人生命經驗之反省上,進一步將母親議題之文化反省提升到全球的文化政治觀察所展開之「個人的即政治的」學術行動。
在檢視西方與第三世界母親相關理論與視覺文本後,筆者提出母親角色的特質與困境並非僅來自於西方或白人女性所提出的「母親好壞」、「生物性母職」、「性、性別母親」或「父權」等問題。在結合自己的為母經驗、視覺文化研究專長、對西方主流以外的第三世界與跨國弱勢族裔的關懷,筆者乃提出以「第三世界母親藝術家」(third world mother-artists)之文化身份為主的研究範疇,企圖在西方主流母親研究外,提出差異的母親形象與研究視野,不僅提供母親主體政治、家庭的文化敘事與第三世界視覺文化研究關聯之豐碩成果,並為多元文化與跨國母親研究提出獨特貢獻。
本論文在視覺文化及跨領域藝術研究方法上有其創見。論文除運用文化研究與視覺文化的理論概念,並以後殖民、邊緣論述與第三世界女性主義,展開第三世界母親主體政治與邊緣發聲之視覺研究策略途徑。本論文並以當代非美、拉美/奇哥娜及亞美三位族裔母親藝術家之差異族裔背景與其多元的藝術創作媒材形式,展開跨藝術(inter-arts)與跨文化(cross-cultural)之研究方法,以「跨族裔」的方式探討第三世界母親藝術家的母性再現(representations of maternity)特質與意義,提供了台灣地區第三世界視覺文化「差異」的研究成果。
本論文之研究成果首先為三位族裔母親藝術家分別提出了差異的母性再現美學。非美母親藝術家芮娜‧寇克斯(Renee Cox 1960~)透過身體自主與自我/家庭再現、經典藝術史的協商以及女英雄的族裔拯救行動,開發其慾望的母性、協商的母性、黑人拯救的母性等美學創作,並藉此展開其後殖民解放行動的母性發聲。拉美/奇哥娜母親藝術家幽蘭達‧洛貝(Yolanda López 1942~)則透過母系追尋與母神信仰、墨西哥文化認同與政治、勞工婦女的政治關懷等藝術行動,展開守護的母性、認同文化的母性、及政治關懷的母性再現創作,並成為邊界母性文化的守護者。亞美母親藝術家新居富枝(Tomie Arai 1949~),則以無名母系的歷史再現、亞美移民族群的生存哲學、有色族裔社群的連結行動,展開邊緣發聲的母性、生存的母性以及社群連結的母性藝術創作,並實踐起第三世界族裔的母性照顧哲學。
其次,本論文並統整性的提出了第三世界母親藝術家的母性再現特質與意義。其特質為一方面呈現以母親為主體的發言策略,抵抗主流它者對自我族裔的刻板印象及文化形塑。另一方面則展開「新主體性」文化身份之認同建構。第三世界母親藝術家她們一方面透過「為母經驗」、「母親角色」來對抗外來霸權,拿回身體的自主權與為母權利;一方面卻又傳遞著「歸屬感、力量來源、群體共生及母性照顧等生命哲學」。再者,第三世界母性再現除經常保有與第三世界關係極為密切的創作內涵外,第三世界的母性再現,尤其重視群體利益,並且第三世界對於母親角色或母親文化亦經常將其提昇為具有「精神性」(spirituality)之內涵特質。
最後,本論文藉由第三世界族裔母親之理論觀點與視覺創作之互文閱讀與比較研究,已對第三世界母親藝術家主體政治、第三世界母性再現特質與意義及多元文化母親形象與理論提出學術洞見。未來筆者將以台灣為根基,朝向跨國與區域研究之視角範疇,繼續以比較文化/比較藝術、跨文化/跨藝術/跨學科之研究方法努力邁進,期望提供學界差異的比較研究視野。
This dissertation is explored from the consideration of my life not balance situation between the mothering- experience of my own, multiple roles in dialy life and my Ph. D. academic study. So the “individual is political” academic action of my Ph. D. dissertation will also have advanced to the cultural politics of cosmopolitan level from mothers issues in examing the situation that a mother’s voice in culture is usually absent, and on the other hand is the over western side of the cultural interpretation on a mother role.
After the examination of western and third world mother theories and visual works, I present the arguments the specific characteristics and difficulty of a mother role is not merely from the questions as follows: “good or bad mother”, “biological motherhood “, “sex, gender mother”,or ”patriarchy.” So I propose the cultural identity as “third world mother-artists” to be the research subjects in combination with my personal mothering experience, speciality on visual culture studies and the concern abourt the third world and transnational minor ethnic groups beyond the mainstream West in order to the contribution purposes of differences of mother types and research perspective. So the study will not only present the fruitful results addressing between the politics of mother subjectivity, cultural narrative of family and the third world visual culture studies, but also the particular contribution on multiculturalism and transnational research on motherhood.
This dissertation offers the encouraging creativity on the research field of visual culture and interdisciplinary arts. I draw on the theories and concepts of cultural studies and visual culture as the research methodology in the dissertation, and apply the productive theories such as post-colonial, marginal discourse and third world feminism to be the visual research approach to discuss the third world mother politics of subjectivity and marginal voice. I also intent to develop the methodology “inter-arts” and “cross-cultural” to investigate the specific characteristics and meanings of maternal representations on third world mother-artists based on the cross-ethnic method through differencial ethnic background and plural medium and style on contemporary African-American, Latina/Chicana and Asian-American three ethnic mother-artists creations. This project offers differencial research result on third world visual culture study in Taiwan.
The three ethnic mother-artists individually show the differencial aesthetics of maternal representations be to the first research result in the dissertation. African-American mother-artist Renee Cox excecises the independent body and representations from herself/family, the negotiation to classial art history, and the salvation action from the heroine to constitute the aesthetics of erotic maternity, mediated maternity, black aesthetics of maternal salvation, and also proceeds to develop the maternal voice of postcolonial free action. Latina/Chicana mother-artist Yolanda López organizes the arts actions from finding motherline and belief on mother goddess, Mexican cultural identity and the politics concern abourt woman workers to constitute the guarding maternity, identical culture maternity and political caring maternity and also becomes the protector to the bordered maternal culture. Another Asian-American mother-artist Tomie Arai applies the historical representations of nameless mother, survived philosophy of Asian-American immigrant groups,the connection action to color ethnic social groups to orgazine the maternity of marginal voice, maternity of survive, maternity of social groups connection, and also carries out the the maternal caring philosophy on third world ethnic groups.
Secondly, it have been integrativily concluded the specific characteristics and meanings of the maternal representations in the dissertation from the third world mother-artists. For one thing is the strategy of voicing based on the mother subjectivity as to resist the stereotype and cultural constitution from maintream the other. On the other hand is to constitute new subjectivity from cultural identity.So on the one part they try to resist the hegemonies from outside territory, and take back the self-power on body and mothering throughout experiences of mothering and mother role, and on the other part they pass on the values of belogings, empower, community paragenesis and life philosophy of maternal caring. Additional results are the representations of maternity from the third world also keeping the strong relation with the third world in the arts creativity contexts. And other characteristics are especially to regard the value of groups as important, and also usually present the mother role or mother culture to the spiritual connotation and special characteristics.
To conclude, it applies the intertextual readings and comparative research on thrid world ethnic theories and visual creations on motherhood in the dissertation. The important things is the study have presented the penetrating academic viewpoints on subjectivity politics of third world mother- artists, specific characteristics and meanings of third world maternal representations, and multicultural mother images and theories. Future research will still proceed to the method and field of trasnational and area studies based on Taiwan to develop the research perspective of comparative culture/comparative arts, cross-cultural/inter-arts/cross-interdisciplinary, and hope to make contribution to the different and specific comparative academic research.
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中文書目

Alarcon, Norma。2004。〈譯者即叛徒:奇坎娜女性主義中的典型〉。《中外文學》33卷2期。潘昱均譯。頁89-114。台北:台大外文系。new window
Alexander, Jeffrey C. 等編。1997。《文化與社會》。吳潛誠總編校。台北:立緒。
Ashcroft, Bill等著。1998。《逆寫帝國:後殖民文學的理論與實踐》。 劉自荃譯。台北:駱駝。
Barker, Chris。2005。《文化研究:理論與實踐》。羅世宏等譯。台北:五南。
Baudrillard, Jean。1999。《美國》。吳昌杰譯。台北:時報。
bell hooks。1999。〈選擇邊緣作為基進開放的空間〉《女性主義經典》。顧燕翎、鄭至慧主編。台北:女書。357-65。
Berger, John。2002。《影像的閱讀》。台北:遠流。
---。2000。《藝術觀賞之道》。戴行鉞譯。台北:商務。
Bhabha, Homi。2006。〈他者問題:陳規與殖民話語〉《文學理論精粹讀本》。北京:中國人民大學。319-25。
Broude, Norma,Mary D. Garrard編。1992。《女性主義與藝術歷史I&II》。謝鴻均等譯。台北:遠流。
Chodorwo, Nancy J.。2003。《母職的再生產》。張君玫譯。台北:群學。
Clough, Patricia Ticineto。1997。《女性主義思想:欲望、權力及學術論述》。夏傳位譯。台北:巨流。
Crang, Mike。2003。《文化地理學》。王志弘等譯。台北:巨流。
Freeland, Cynthia。2002。《別鬧了,這是藝術嗎?》。劉依綺譯。台北:左岸。
Friedan, Betty。1995。〈幸福快樂的女主角:家庭主婦〉《覺醒與挑戰:女性迷思》。李令儀譯。台北:月旦。57-106。
---。1995。《覺醒與挑戰:女性迷思》。李令儀譯。台北:月旦。
---。1995。《第二階段:追求兩性真平等》。謝瑤玲譯。台北:月旦。
Gilroy, Paul. 2004。〈離散與認同的繞行〉《身體認同:同一與差異》。林文琪譯。台北:韋伯文化。
Hall, Stuart編。2003。《表徵:文化表象與意指實踐》。徐亮、陸興華譯。北京:商務印書館。
Harding, Jennifer。2000。《性與身體的解構》。林秀麗譯。台北:韋伯文化。
Irigaray,Luce。2005。《此性非一》。李金梅譯。台北:桂冠。
Isaak, Jo Anna。2000。《女性笑聲的革命性力量-女性主義與當代藝術》。陳淑珍譯。台北:遠流。
Kristeva, Julia。2003。《恐怖的力量》。彭仁郁譯。台北:桂冠。
Lewis, Jeff。2006。《文化研究的基礎》。邱誌勇、許夢芸譯。台北:韋伯文化。
Magezis, Joy。2004。《女性研究自學讀本》。何穎怡譯。台北:女書。
McDowell, Linda。2006。《性別、認同與地方:女性主義地理學概說》。徐苔玲、王志宏合譯。台北:群學。
Miller, J. Hills。1999。〈比較文學的危險海域〉《聯合報》。陳子周、李建和譯。聯合副刊37版(1999.8.27)。台北:聯合報出版社。
Mitchell, W.J.T.。2006。《圖像理論》。陳永國、胡文征譯。北京:北京大學出版社。
Mirzoeff, Nicholas。2004。《視覺文化導論》。陳芸芸譯。台北:韋伯文化。
Moi, Toril。2005。《性/文本政治:女性主義文學理論》。王亦婷譯。台北:巨流。
Moore-Gilbert, Bart。2004。《後殖民理論》。彭淮棟譯。台北:聯經。
Morrison, Toni。2003。《寵兒》。何文敬譯。台北:商務。
Nicholson, Linda J。1995。《女性,藝術與權力》。游惠貞譯。台北:遠流。
Pollock, Griselda。2000。《視線與差異》。陳香君譯。台北。遠流。
Rose, Gillian。2006。〈研究視覺材料:邁向批判的視覺方法〉《視覺研究導論:影像的思考》。王國強譯。台北。群學。6-41。
Soja, Edward W.。2004。《第三空間:航向洛杉磯以及其他真實與想像地方的旅程》。王志弘等譯。台北:桂冠。
Spivak, Gayatri Chakravorty。2006。《後殖民理性批判-邁向消逝當下的歷史》。張君玫譯。台北:群學。
The Guerrilla Girls。2000。《游擊女孩床頭版西洋藝術史》。謝鴻均譯。台北:遠流。
Tong, Rosemarie。1996。《女性主義思潮》。刁筱華譯。台北:時報文化。
Weedon, Chris。1994。《女性主義實踐與後結構主義理論》。白曉紅譯。台北:桂冠。
Weisskopf, Susan. 1991。〈性-母性性欲與母職〉《當代》。62期。台北:合志文化事業。88-94。
Wells, Liz等著。2005。《攝影學批判導讀》。鄭玉菁譯。台北:韋伯文化。
Woodward, Kathryn。2004。〈母職:身份、意涵與神話〉《身體認同:同一與差異》。林文琪譯。台北:韋伯文化。359-450。
---。2004。《身體認同:同一與差異》。林文琪譯。台北:韋伯。
Young, Iris Marion。2007。《像女孩那樣丟球:論女性身體經驗》。何照定譯。台北:商周。
王岳川。1999。《後殖民主義與新歷史主義文論》。山東:山東教育。
王柏華。2005。〈西方比較文學發展史淵源〉《比較文學概論》。楊乃喬主編。北京:北京大學。9-24。
方漢文、黃暉。2005。〈比較文學在21世紀文學研究中發展走向〉《比較文學概論》。楊乃喬主編。北京:北京大學。38-45。
史書美。2007。〈華語語系研究芻議,或,《弱勢族群的跨國主義》翻譯專輯小引〉《中外文學》。36卷2期。2007:6。台北:13-7。new window
史書美、簡瑛瑛編。2004。「第三世界/跨國女性主義實踐」《中外文學》。台北:台大外文系。33.2。
台北市立美術館。1998。《亞洲當代藝術:傳統與張力》。台北:台北市立美術館。
---。2002。《文本與次文本:當代亞洲女性藝術家》。台北:台北市立美術館。
台灣女性影像學會。2006。《女性、影像、書》。台北:台灣女性影像學會。
江足滿。2004。《「陰性書寫/圖像」之比較文學論述:西蘇與台灣女性文學、藝術家的對話》。博士論文。台北:輔仁大學比較文學研究所。
西蒙‧波娃。2001。《拒絕做第二性的女人:西蒙‧波娃訪問錄》。台北:女書。
---。1992年。《第二性 第一卷 形成期》。歐陽子譯。台北:志文出版社。new window
---。1992年。《第二性 第二卷 處境》。楊美惠譯。台北:志文出版社。new window
---。1992年。《第二性 第三卷 正當的主張與邁向解放》。楊翠屏譯。台北:志文出版社。new window
安菊‧芮曲。1999。〈憤怒與溫柔〉《女性主義經典》。顧燕翎、鄭至慧主編。台北:女書。133-52。
李金梅。1991。〈寡頭母職-牛頭人身怪的由來〉《當代》。62期。台北:合志文化事業。98-100。
---。1991。〈保護母性-德國保護母親聯盟〉《當代》。62期。台北:合志文化事業。100-3。
李朝柏、楊乃喬。2005。〈差異與變體:後殖民批評與宗教文化傳統〉《比較文學概論》。楊乃喬主編。北京:北京大學。423-435。
李歐旎、史書美著。2007。〈由弱裔出發,進行跨國思考〉《中外文學》。36卷2期。2007:6。台北:19-50。new window
吳瑪悧。1998。〈洞裏玄機:從圖像、材料與身體看女性作品〉《女/藝/論:台灣女性藝術文化現象》。台北:女書。197-210。
周啟超主編。2008。《跨文化的文學理論研究》。天津:百花文藝出版社。
林素英。1999。《母親形象與母女關係:兩種典範之研究》。博士論文。台北。台灣大學。new window
林慧雅。2002。《性別、族裔與民間信仰:第三世界女性文學家的策略運用》。博士論文。台北:輔仁大學比較文學研究所。
珍妮特‧榭爾絲。2001。《母性精神分析:女性精神分析大師的生命故事》。劉慧卿譯。台北:心靈工坊。
皇甫秉惠。2002。〈當代藝術與亞洲女性〉《文本與次文本:當代亞洲女性藝術家》。台北:台北市立美術館。6-9。
俞彥娟。2005。〈女性主義對母親角色研究的影響-以美國婦女史為例〉《女學學誌》第20期。2005年12月。台北:台大婦女研究室。1-39。new window
---。2005。〈婦女史研究的回顧與展望-美國婦女史學界的反思〉《近代中國婦女史研究》第13期。2005年12月。台北:中研院近史所。245-78。
---。2004。〈美國第二波婦女運動歷史研究之回顧:兼評王雅各《台灣婦女解放運動史》〉《女學學誌:婦女與性別研究》第18期。2004年12月。215-37。
---。2003。〈美國婦女史研究中的「母親角色」〉《近代中國婦女史研究》第11期。2003年12月。台北:中研院近史所。189-214。
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---。2002。〈女性主義者對母親角色的批判:波娃和傅瑞丹〉《成大西洋史集刊》第10期。2002年12月。台南:成功大學。311-37。
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