非遗传承实践中女性传承人的性别角色分离--基于凤翔泥塑传承个案  

The Gender Role Separation of Female Inheritors in Intangible Inheritage Practices:Based on the Case Analysis of Fengxiang Clay Sculpture Inheritance

作　　者：李亚妮 仵军智[3] 谢崇桥 LI Yani;WU Junzhi;XIE Chongqiao

机构地区：[1]中宣部中国新闻出版研究院城乡统筹发展研究中心,100073 [2]北京师范大学 [3]宝鸡文理学院文学与新闻传播学院,721013 [4]首都师范大学美术学院,100048

出　　处：《中华女子学院学报》2022年第1期95-101,共7页Journal of China Women＇s University

基　　金：陕西省社科基金项目“‘互联网+’背景下陕西民间手工艺品产业化开发路径研究”阶段性研究成果,项目编号:2016J051。

摘　　要：在以家庭为主要制作单元的手工艺非遗作品生产制作与传承实践中,逐渐打破传统的“传男不传女”的潜规则,存在并无明显的性别分工。在某些制作环节和技艺掌握方面,或者在某些特定时期,女性甚至扮演着更为关键的角色。但掌握非遗传承技艺却对男女两性的生活空间产生了迥然不同的影响。技艺出众的女性传承者个体不得不以“拟男性”的社会身份传承手艺,同时以“女性化”的身份进入日常生活,呈现出分离的性别角色认同。然而这种性别角色的分离状态,最终并未跨越传统非遗传承场域中的性别界限而达到真正意义上的性别平等。In the practice of production and inheritance of handicraft intangible cultural heritage with the family as the main production unit,there is no obvious gender division of labor on the surface.In certain production stages and mastery of skills,or in certain specific periods,women even play a more critical role than men.Nevertheless,mastering skills embedded in intangible cultural heritage has a very different impact on the living space of both men and women.Individual female inheritors with outstanding skills have to pass on their craftsmanship as a"pseudo-male"social identity,and meantime enter daily life as a"feminine"identity,presenting a"separated"gender role identity.This state of separation of gender roles,however,does not ultimately cross the traditional intangible heritage field dominated by men to achieve true gender equality.

关 键 词：非遗传承 女性 拟男性 性别角色分离 

分 类 号：C913.68[经济管理]