麦当娜女权主义:美国第三波女权主义百花园里的一支毒葩

从经济和文化繁荣的角度看,1990年代被认为是美国历史上最好的十年之一。在学术、媒体和大众视野中,一支"麦当娜女权主义"名噪一时。这支女权主义虽然内部在理论上各持己见,但是都含有4个重要的共识:指责第二波女权主义是"受害者女权主义";重提性别的生理性,提出应重建女性气质;强调身体是建构女性主体意识的关键;认为性是赋权女性的最佳途径。回顾那一时期美国马克思主义女权主义学者特瑞莎·艾伯特和西方一些带有反对新自由主义全球资本主义倾向的女权主义学者对麦当娜女权主义的代表人物娜奥米·沃尔芙和卡米拉·帕格利亚的主要议题、论点、修辞策略和宏观理论框架的评析,对引起中国妇女研究学界对1990年代以来中国出现的涉及这4个层面的议题的反思具有重要价值。     

从女性主义角度看“绝望主妇”们的绝望与希望

希望与绝望是生活永远的主题,也是风靡全球的美剧《绝望的主妇》的主题。然而该剧的名字虽然是《绝望的主妇》,笔者却认为在绝望的境地之下,所有剧中出现的主妇们,包括主要的四位主妇和其他搬来又搬走的主妇们,她们从未在遭遇困境时屈服,总能在绝望中找到希望。     

从贵女贱男到男尊女卑——婆罗门教对泰民族女权文化变迁的影响分析

婆罗门教传入东南亚可以追溯到吠陀文明时期。对女权文化持包容态度的吠陀文明促进了中南半岛母系社会礼俗的发展,直到素可泰时期,泰民族仍然盛行女权文化。自阿育陀耶王朝起至曼谷王朝初期,泰民族统治者借鉴古高棉的做法,较大程度上吸收了婆罗门教文化。婆罗门教对泰人原初的女权文化的发展产生巨大的影响,男尊女卑在礼法制度上体现出来,但由于传播的局限,其影响主要体现在中上层社会。     

Women on the Edge of Modernity

Feminism has long been committed to a critique of stereotypic examples of women in patriarchal discourse and has been keen to see what it could offer by way of alternatives. Yet to suggest that alternatives are possible raises the question of whether feminism itself can altogether avoid the trap of turning women into stereotypes, turning the specific example of woman into a universal model, in its own efforts to represent women. Communication demands the particular; it is not possible to refer to everything at once. At the same time, judgements that arise from the use of those particulars are always to some extent faulty - inaccurate or incomplete, too particular or too general. This applies as much to aesthetics (models of beauty) as it does to politics (another matter of representation). What is at issue here is the entire problematic of inclusion and exclusion, whether in politics or aesthetics. Focusing on the significance of Kant's reliance on woman as an example in the Critique of Judgement , Elam argues that it would be a mistake to dismiss all aesthetic discourses of beauty as ploys on the part of patriarchy to keep women for men's eyes only. The Critique of Judgement stands to be useful to feminism because it demonstrates that the problem of the example cannot be solved by striving for the perfect representation of woman - either an inclusive aesthetics or a fully representational politics - or even by overcoming the use of examples altogether. Rather, taking 'woman' as an example stages both aesthetic and political questions about representation that call attention to the challenges feminism faces in its attempt to form political communities.     

Museums and Feminist Matters: Considerations of a Feminist Museology

This article speaks to a post-human feminist museology. It argues that considerations of a feminist museology would benefit from engaging with post-human feminist dialogues currently unfolding within academia. Dynamic political landscapes and global circumstances challenge dualist paradigms. Theorizations of museums are not exempt from these challenges. Critiques of androcentricity indicate that feminist theorizations have never fully centred on “the human”, but always already contextualized how we affect the world, and how the world affects us. Discussions in this article follow Barad’s agential-realist theorization of the material-discursive practices that shape our understandings in and of the world, and Haraway’s notion of diffraction that engages the material and re-tools recordings of object histories as entangled human and non-human processes that can be taken apart and reassembled, making different possibilities possible. The article demonstrates that museological alternatives that emerge from conversations about entanglements not only aim to move beyond the paradigms they have been circling within for so long, but towards a re-thinking of museology and cultural heritage museums. Thus, considerations of a feminist post-human museology re-imagine museums as entangled becomings that make different possibilities possible.     

A Male Poetics

All French literary fiction, Coquillat contends, from Madame de Lafayette to Philippe Sollers, can be shown to repeat a single representation of gender, a single, scarcely varied pattern: man is transcendence, woman contingency. Man defies death through his immortal m uvre , woman 'creates' only living beings that must die. The romantic hero, the male intellectual adventurer, continues even now to be the creator's alter ego and occupies the centre of French literature, from avant garde to mainstream. By definition, he is in aloof rebellion against a 'bourgeois society' that suppresses genius. His politics as such are more often than not an 'apolitical' conservatism, his misogyny averred, in and out of his writing. If he is intrinsically more valuable it is precisely because he can rise to the singular status of the creator-genius, while women remain biologically and sociologically rooted in the mass. Rousseau was the first to theorize this vision of male superiority in his Reveries of a Solitary Walker , celebrating creativity as a male-orgasmic return to essence of which women are by nature incapable. Rousseau's most hysterical attacks on women's literature are contained in the pages of this work.     

卢梭与西方女性主义

18世纪法国启蒙思想家卢梭的“天赋人权”主张为西方女性主义提供了最初的思想资源和理论支点,而他的贤妻良母主义的女性观和女子教育观既遭到过自由主义女性主义的代表人物玛丽·沃斯通克拉夫特的批判,又获得过女性主义思想家爱伦·凯的支持,这一切都使卢梭与西方女性主义之间的关系变得波诡云谲。     

存在主义女性主义和生态女性主义的分歧——基于女性与自然的关系的视角

存在主义女性主义和生态女性主义是女性主义思潮中的重要流派,它们在推动女性主义运动发展中扮演着重要的角色,二者对女性和自然的关系的观点存在很多分歧。存在主义女性主义认为妇女应该拒绝她们的身体以及她们与自然的联系,强调超越女性的他者性,梳理女性主体意识。生态女性主义则认为妇女与自然的关系是紧密的,妇女解放与自然的解放是相互联系的工程,反对在父权制世界观的统治下对女性与自然的压迫。