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作 者:袁宙飞[1] 李璐佳 YUAN Zhoufei;LI Lujia
出 处:《民俗研究》2022年第3期76-86,158,159,共13页Folklore Studies
基 金:国家社科基金后期资助项目“年画中的女性形象研究”(项目编号:17FYS032)的阶段性成果;山东大学“青年学者未来计划”人才项目资助。
摘 要:改良年画作为展示清末民初社会面貌和风俗变迁的历史影像,不仅要从艺术审美视角剖析其语图关系、题材内容和造型语言,也要从社会历史发展的整体视角研究其与社会整体语境和文化权力场域的关系,继而把握年画图像中女性形象变迁的原因和背后的历史必然性。清末民初,女性作为“旧礼俗”向“新礼俗”转型的特殊群体,在近代报刊媒介宣传的女权解放、女学兴办等启蒙思想的影响下,成为改良年画的主要题材内容之一。借助改良年画中女性图像的呈现,有助于更好地理解清末民初女性社会角色和生活场域的变迁历程,以及此过程与整个社会礼俗秩序变迁的互动关系。As a historical image showing the changes of social features and customs in the Late Qing Dynasty and the early Republic of China, the Improved New Year Pictures should not only analyze its language and picture relationship, subject-matter, content and modeling language from the perspective of artistic aesthetics, but also study its relationship with the overall social context and cultural power field from the overall perspective of social and historical development, then grasp the reasons for the changes of female images in New Year Pictures and the historical inevitability behind them. In the Late Qing Dynasty and the early Republic of China, women, as a special group in the transformation from “Old Etiquette and Customs” to “New Etiquette and Customs”, became one of the main themes of the Improved New Year Pictures under the influence of the Enlightenment ideas such as the women’s liberation and the establishment of women’s schools publicized by modern newspapers and periodicals. The presentation of female images in the Improved New Year Pictures will help to better understand the changing process of women’s social roles and life field in the Late Qing Dynasty and the early Republic of China, as well as the interactive relationship between this process and the change of the whole social etiquette and customs order.
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