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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/86948

    Title: 二十世紀上半葉中國結婚照研究;A Study on Chinese Wedding Dress during the First Half of the Twentieth Century
    Authors: 曾郁真;Tzeng, Yu-Jhen
    Contributors: 藝術學研究所
    Keywords: 服制;結婚禮服;結婚照;性別角色;文明結婚;集團結婚;Official Uniform Law System (Uniforms Act);Wedding costumes;Wedding photographs;Gender role;Civilized marriage;Collective wedding
    Date: 2021-08-30
    Issue Date: 2021-12-07 13:29:20 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 婚禮是常人的人生中最重要的通過儀式之一。在攝影發明後,隨著技術進展與價格降低,為這個儀式留下視覺紀錄成為一個越來越普遍的習慣,以至於婚紗照成為今天的婚禮一個不可或缺的元素。


    ;Marriage is one of the most important rites of passage. With the invention of photography, it is more and more common to have a visual record for this ceremony, especially when the progress of technology is coupled with decreasing price, so that wedding photos became an indispensable element in today′s weddings.

    In addition to protection from the elements, clothing is also an important tool for constructing identity. If the naked body means physicality of the self, clothing is a sign which extends into social and cultural spheres. The social and cultural information carried by clothing covers age, gender, profession, social status, religion and political ideology, ethnic and national identity, etc... Highly gendered, wedding costumes have maximized the gendered clothing in daily life and the power relationship between the sexes.

    Over the past century, the evolution of Chinese wedding costumes can be approximately described as a process of “Westernization”. But this process is far from homogeneous in both sexes. It reflects the evolution of gender roles in Chinese society, particularly the roles assigned to both sexes in the face of Western culture. The phenomenon of “civilized marriage” appeared in the 1910s. It is worth noting that during this time, the westernization of wedding costumes affected only men. The “collective wedding” promoted by the National Government in 1935 not only pushed the previously personal and familial nature of wedding ceremony to a national level, but also directly returned to the traditional gowns and cheongsam in terms of wedding clothing. This thesis investigates mainly wedding photos published between 1910 and 1940, as well as discourses on costumes and gender roles in the mass media, to discuss the representation of Chinese gender and national identity in wedding costumes in the early twentieth century.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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