陈云裳赴延安?——战后清算中的性别与政治  

Will Chen Yunchang Go to Yan’an?Gender and Political Factors in the General Exposure and Criticism after the Victory of Anti-Japanese War

作　　者：徐峰[1] XU Feng(Guizhou University of Finance and Economics, Guiyang 550025, China)

机构地区：[1]贵州财经大学马克思主义学院,贵州贵阳550025

出　　处：《山东女子学院学报》2020年第5期73-79,共7页Journal of Shandong Women＇s University

基　　金：国家社会科学基金一般项目“中国共产党领导的妇女武装组织研究”(项目编号:18BDJ062)。

摘　　要：在抗战胜利后的附逆清算中,女艺人多受到来自职业与性别层面的双重歧视,被认为是有道德瑕疵与人格污点的人。在强大的国家机器及舆论面前,女艺人的附逆似乎板上钉钉,不容置疑。在这种压力下,“落水”明星陈云裳,通过制造一个“赴延安”的新闻话题,隐晦地传达出自己不满的声音。近代中国,特别是在战乱状态下,性别与政治间时常呈一种紧张关系,它为近代中国妇女解放的复杂面相,提供了生动的注解。The female artists were discriminated professionally for their gender.They were regarded as people with moral defects and personality stains after the victory of the Anti-Japanese War.Under the powerful state machine and public opinion,female artists were considered as people relying on the enemy,which seemed to by beyond doubt.Under this pressure.Chen Yunchang,a star believed having turned to the enemy,implicitly expressed his dissatisfaction by making the news with‘Go to Yan’an".In modern China,especially in the state of war,whether women are victims or beneficiaries of war,there is often a tension between gender and politics,which provides a vivid annotation for the complexity of women’s Liberation in modern China.

关 键 词：陈云裳 附逆清算 性别歧视 延安 

分 类 号：K828.5[历史地理—历史学]