「煙」視媚行：近代中國吸煙婦女的文本再現;A Glance of “Smoke” and a Move of Fawning: The Representation of Smoking Women in Modern China

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Title:	「煙」視媚行：近代中國吸煙婦女的文本再現;A Glance of “Smoke” and a Move of Fawning: The Representation of Smoking Women in Modern China
Authors:	邵悅;SHAO, YUE
Contributors:	亞際文化研究國際學位學程
Keywords:	吸煙婦女;文本再現;形象建構;情感結構;性別秩序;smoking women;textual representation;image construction;the structure of feelings;gender order
Date:	2021-10-21
Issue Date:	2021-12-07 11:57:11 (UTC+8)
Publisher:	國立中央大學
Abstract:	本論文探討的是吸煙婦女形象作為一種文化編碼，其被賦予的文化意義在中國近代以降之性別現代化的秩序建構過程之中所發生的修辭策略轉向，以明清詩詞等史料、近代報刊雜誌、1930年代國產電影中關於吸煙婦女的形象再現為文本材料，探究其背後負載的特定歷史知識與常識系統、文化邏輯和情感結構的變遷。本論文首先梳理了在明清文本中關於吸煙女子的描寫以及女子吸煙者的自我書寫，是如何將吸煙再現為閨房逸事的同時也是女詩/詞人自詡神仙品格的一種精神生活方式。其次，本論文分析了煙草文化在以鴉片戰爭為界線進行劃分的中國近現代化進程中所產生的性別化變遷，即吸煙婦女因其女子吸煙者的性別身份而遭逢污名化的道德指摘，透過報刊文章中的反/禁煙論述來討論女子吸煙如何在文本和圖像的層面上發生了朝向污穢低賤、情色低俗、危險邪惡的語義傳遞，尤其聚焦於這一時期的論述中內在化的西方視角，及其背後所反映出的近代轉型期的中國知識分子在歐風美雨的現代化衝擊之下對躋身先進文明之列的欲望，是如何透過對吸煙婦女的批判和整肅來扭轉中國在中西文明階序中所處的負面形象地位。最後，本論文選取了1930年代的國產電影作為視覺藝術文本的研究對象，分析在左翼運動的氛圍之下，吸煙女在《神女》、《新女性》、《風雲兒女》這三部左翼電影代表作中如何延續了骯髒、羞恥、落後的語意邏輯，同時又塑造了社會常識系統中對女子吸煙即資產階級趣味的想像，以此區隔於勞動婦女的樸素生活方式，使得吸煙在消費文化和精神文化的雙重意義上成為資產階級婦女所負載的現代性誘惑和思想性落後的特徵。本論文所關照的是，在中國以否定傳統並以婦女為坐標向往西方文明的現代化進程中，婦女吸煙較之前現代社會並未被賦予更為自由廣闊的論述空間，恰如國片中的吸煙女郎最終是以被拋棄、被懲罰、被放逐的結局淡出螢幕，其作為欲望和恐懼的雙重客體最終被民族主義和革命意識覺醒的男主人公所甄別為新/好女性的對立面，吸煙女的類型化負面形象正是在以文明先進所包裝的進步論述中被逐步建構，隨著閨秀才女吸煙逸樂的肖像逐漸沒落，取而代之的是情色、墮落、危險的形象開始成為現代社會常識系統的一部分。;This thesis discusses the ways in which smoking women as a cultural code was represented and sculptured, and how the cultural image of which was given to the rhetorical strategy shift that occurred during the construction of the gender order in China since modern times. Using poetry and other historical sources in Ming-Qing Dynasty, modern newspapers and magazines, Chinese films in the 1930s as textual materials, this thesis focuses on how the specific historical knowledge, common sense system, cultural logic and the structure of feelings behind the representation had been changed. First of all, this dissertation sorts out the description of smoking women in Ming- Qing dynasty and the poetry-writing of talented women who smoked. During this period, women smoking was represented as a boudoir anecdote and also a spiritual lifestyle of female poets who prided themselves on being a fairy through tobacco smoking. Secondly, this thesis analyzes the genderization in tobacco culture during China′s modernization process after the First Opium War. From then on, smoking women are stigmatized and morally accused because of their gender identity as female smokers. Anti-smoking discourses in newspaper discussed how women’s smoking had a semantic transmission towards filthy, vulgar, dangerous and evil on the level of both texts and images. I especially focus on an internalized Western perspective in this period of discourse, and how the Chinese intellectuals’ desire to be among the advanced civilizations under the impact of the modernization of western culture reflected in the modern transition period led to the criticism and purge of smoking women who were labeled with negative image. Finally, this thesis selects Chinese films in the 1930s and analyzes “The Goddess”, “The New Women” and “Children of Troubled Times” which were three representative left-wing films during the Left-wing Film Movement. In this chapter, it is clear to find that the semantic logic of dirty, shame, and backwardness had been continued, and at the same time, the imagination of women smoking had been represented as a particular bourgeois habit in order to separate them from the simple and frugal lifestyle of working women. Women smoking had become the characteristic of modernity temptation and ideological backwardness carried by bourgeois women, in the dual sense of spirit and culture. Through China’s modernization process of denying traditions and taking women as the coordinates to Western civilization, smoking women had not been given a more free and broader space for discussion than in the pre-modern society. Just like smoking in Chinese movies, the smoking women as a dual object of desire and fear always fade out at the end of the story after being abandoned, punished, and exiled by the male protagonist who would be awakened by nationalism and revolutionary consciousness. Negative images were gradually constructed in the progressive discourse packaged with advanced civilization. As the portraits of young and talented women smoking as leisure gradually declined, they were replaced by erotic, depraved, and dangerous images that began to become part of the common sense system of the modern society.
Appears in Collections:	[ International Program in Inter-Asia Culture Studies] Electronic Thesis & Dissertation

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