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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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This thesis is written as an attempt to examine women's sexuality by inquiring the catchphrase, that is 'the liberation of individuality of the new cultural period in China; for it lacks any consideration about the question of sexuality. Since the 20th century, the voice of women in China can be characterized as one's efforts to find their identity and sexuality which has long been oppressed and hidden in Chinese society. Throughout its long history, womens sexuality has habitually buried under the gender of 'the mother'. Here, the question which has been continuously raised even by many contemporary feminists is: how can we relate the 'mother' with women's sexual identities? From this point of view, this thesis will scrutinize the relationship between women's sexuality and 'the mother' by examining 'the Red Rose and the White Rose' written by Zhang, Ai-Ling who led an active life in Shang-hai. At the same time, as the emphasis on the women separated from the gender of the mother can never be the question detached from the problem of patriarchy, the patriarchal power relations is also examined.
In 'the Red Rose and the White Rose', Ai-Ling Zhang presents Zhen-bao Tong as a typical man of modern Chinese society, who is hypocritical as well as self-contradictory. He becomes a straight modern man by fixing his double gaze upon women in which women are dichotomized between the prostitutes and the mother. This thesis finds the reason Zhen-bao Tong dichotomizes women as such from the needs to legitimize his inner desire. However, as this 'law' of Zhen-bao works only in his imaginary world, it cannot help but resulting in his separation from the rest of the world/the other as well as his self-alienation. Dichotomized roses by patriarchal power are never dominated by Zhen-bao Tong. Rather, his dual gaze upon which women are dichotomized puts him into a crisis. Nevertheless, Zhen-bao Tong is represented a straight and a normal person in the real world.
Zhang, Ai-Ling, through the medium of Zhen-bao's gaze, carefully examines the gap exists in the male gaze upon women. Here, Ai-Ling Zhang shows that Zhen-bao's dichotomy does not simply objectify women, but it also serves as the means to avoid difficulties for men. In addition, the author reveals a self-destructive inner contradiction innate in the male gaze as well as envies that brings for women. That is to say, it posits women in the position of man by endowing the mother with the power of the Phallus, thereby enabling the son as a man to hide under the shadow of the mother, while the mother has to confront herself with daughters so as to protect her son. But this is the very point where Ai-Ling Zhang, by overlapping the image of the red rose and the white rose, materializes the images of mother.
However, an important point that should be mentioned here is that within Ai-Ling Zhang's scheme of things, the image of the patriarchal motherhood is much more powerfully presented than that of the individual women's sexuality. And this can be seen from the way in which Wang, Jiao-rui and Meng, Yan-li admit their own sexualities and define their positive identities from the presence or non-presence of their child. This structure is a result of unconsciously embodied patriarchal ideology in which unproductive women are seen as being unable to obtain the true women's sexuality. In addition, this can also be seen as having reflected the author's desire for dedicated motherhood resulting from the author's own memory of deserted childhood; the author experienced somewhat disintegrated family life with the parents' divorce. And here, we can see the individual author's limitation as well as a limitation of the period of 1940s.
Nevertheless, it is still the case that the efforts to define women's identity and the images of motherhood through an angle of women's sexuality are a revolutionary attempt made in this period.
In 'the Red Rose and the White Rose', Ai-Ling Zhang presents Zhen-bao Tong as a typical man of modern Chinese society, who is hypocritical as well as self-contradictory. He becomes a straight modern man by fixing his double gaze upon women in which women are dichotomized between the prostitutes and the mother. This thesis finds the reason Zhen-bao Tong dichotomizes women as such from the needs to legitimize his inner desire. However, as this 'law' of Zhen-bao works only in his imaginary world, it cannot help but resulting in his separation from the rest of the world/the other as well as his self-alienation. Dichotomized roses by patriarchal power are never dominated by Zhen-bao Tong. Rather, his dual gaze upon which women are dichotomized puts him into a crisis. Nevertheless, Zhen-bao Tong is represented a straight and a normal person in the real world.
Zhang, Ai-Ling, through the medium of Zhen-bao's gaze, carefully examines the gap exists in the male gaze upon women. Here, Ai-Ling Zhang shows that Zhen-bao's dichotomy does not simply objectify women, but it also serves as the means to avoid difficulties for men. In addition, the author reveals a self-destructive inner contradiction innate in the male gaze as well as envies that brings for women. That is to say, it posits women in the position of man by endowing the mother with the power of the Phallus, thereby enabling the son as a man to hide under the shadow of the mother, while the mother has to confront herself with daughters so as to protect her son. But this is the very point where Ai-Ling Zhang, by overlapping the image of the red rose and the white rose, materializes the images of mother.
However, an important point that should be mentioned here is that within Ai-Ling Zhang's scheme of things, the image of the patriarchal motherhood is much more powerfully presented than that of the individual women's sexuality. And this can be seen from the way in which Wang, Jiao-rui and Meng, Yan-li admit their own sexualities and define their positive identities from the presence or non-presence of their child. This structure is a result of unconsciously embodied patriarchal ideology in which unproductive women are seen as being unable to obtain the true women's sexuality. In addition, this can also be seen as having reflected the author's desire for dedicated motherhood resulting from the author's own memory of deserted childhood; the author experienced somewhat disintegrated family life with the parents' divorce. And here, we can see the individual author's limitation as well as a limitation of the period of 1940s.
Nevertheless, it is still the case that the efforts to define women's identity and the images of motherhood through an angle of women's sexuality are a revolutionary attempt made in this period.
목차
Abstract
Ⅰ. 들어가는 말
Ⅱ. 이분법적 시선의 부메랑
Ⅲ. 시선의 젠더와 어머니
Ⅳ. 새로운 모성의 이미지를 위한 미학
Ⅴ. 마치는 말
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UCI(KEPA) : I410-ECN-0101-2012-705-003610674