妇女身体：作为“性”符码的生产和消费

【作者】 赵卫东；

【导师】 邱运华；

【作者基本信息】 首都师范大学 ， 文艺学， 2012， 博士

【摘要】 在人类文化发展的漫长过程中,父权制仿佛是一个无处不在的幽灵,到处都可以发现它的身影。在文学文本和文化文本中,妇女身体是男性和男权社会对女性实施暴力和压迫的场域,也是父权模式实施精神奴役、维护性别制度的工具。妇女身体作为符号受到了父权象征秩序的重新编排,通过语言程序生产和组织出来,转化为男性欲望的消费对象,即由身体的隐喻修辞和推迟身体在场的延异形式来播撒男权主义的种子,到身体图像被置于男性的目光关注之下,通过肉体器官和性的因素被无限突出和放大,以再生产出父权制所需要的文化观念来。在这一转型过程中,身体符号呈现出由内在的心象向外在的物象发展蔓延的趋势,从而以一种物化的消费事实掩盖了男性权力渴求占有和支配女性肉体的观念事实。身体符号从观念意义上的能指符号,发展到日常实用美学上的商品形象,然后进一步发展为无根无源、完全按照虚拟逻辑来运作的类像,正表明了视觉转型为一种观念的传播和再生产所提供的可能发展空间。从文学文本中对欲望叙事的突出到将欲望纳入启蒙一途,再到图像文本中将妇女身体商品化、直观化和类像化,正显示出了父权制与视觉消费主义逐渐合流的历史演进轨迹。特别是进入消费社会以来,父权制通过编码的方式,把“性”符码的欲望解读模式重构为感性审美的消费模式,把文化观念的生产和消费重释为商品的生产和消费,借助于大众传媒的传播诱导和商业文化力量的驱动,源源不断地创设身体景观,为消费大众的欲望需求提供“性”的消费对象,并把这种消费时尚内化为消费大众的价值观念和生活方式。究其实质,不过是父权制文化文本在消费主义语境下的一次重演。论文主要以传统时代的文学作品和读图时代的影视作品两类文本为例,试图阐明在从文字文本走向图像文本的过程中,一种源于不平等的性别压迫观念所造成的内伤,在视觉转型和消费主义的背景下是如何得到缝合的,又是怎样在消费大众那里确立其合法性的,以及知识分子在其中所扮演的角色和态度又会呈现出什么样的面貌。论文在结构上主要包括“序言”、正文和“结语”三大部分。“序言”总领全文,对于妇女身体的概态予以澄清,指出了在语言学转向之后妇女身体所可能引发的危机；正文又分为“妇女身体与消费社会”、“‘性’符码的现代式转换”、“传统时代‘性’符码的生产和消费”、“读图时代‘性’符码的生产和消费”和“不同时代不同类型文本的解读—以小说《苔莉》和电影《色·戒》为例”五章；最后,“结语：生成中的妇女身体”对全文的内容进行了回顾和总结,并对妇女身体的的未来走向予以瞻望。“妇女身体与消费社会”一章,从谱系学、存在主义等角度探讨了妇女身体的起源和边界,考察了妇女身体在消费社会中的编码情况；“‘性’符码的现代式转换”一章,力图阐明全球化背景下妇女身体生成与流变的动态,强调了妇女身体的出场不过是符号的表演机制在发挥作用；“传统时代‘‘性’符码的生产和消费”、“读图时代‘性’符码的生产和消费”主要考察了传统时代和改图时代“性”符码的生产和消费过程,揭示了“性”符码在不同时期的不同特征,消费群体文化观念的变迁,以及知识分子的身份转型等情况,进而指出,妇女身体作为”性”符码之所以在不同的时代会面临着不同的命运,是由于“性”符码所栖身的文本与彼时的主流文化的关系影响造成的,并从一个侧面揭示了父权制在这种文化语境下的特殊境遇。最后一章借助现代小说《苔莉》和当代电影《色·戒》等文本,细致地描述了两类文本的不同生产机制,阐述了在从阅读文本走向图像文本的转型中,身体符号是如何脱离文本叙事的限制,开始按照自身的运作逻辑运作并逐渐形成身体奇观的。在具体的解读中我们发现,在张资平的小说《苔莉》等作品中,妇女身体作为“性”符码受到了强有力的抵制,原因在于它与当时的启蒙理性相背离,而在电影《色·戒》中,随着视觉消费文化的兴起和新的美学原则的确立,妇女身体的景观已经论为消费大众日常消费对象,作家、媒介制作人、消费者在欲望消费的前提下达成了暂时的妥协,这三种力量的汇合是父权制观念滋生膨胀的现实土壤,也是父权制从观念上升为意识形态的历史前提。“性”符码文化观念的消费和再生产,并不是主动生成的,而是在欲望机器的参与和推动下形成的,目的是在父权制文化模式的控制和主宰下,借助于媒介的转型和视说觉消费主义的力量,引导和刺激消费大众的肉体欲望并在观念上实现对妇女身体的占有和支配。因此,论文在结语部分提出了一种“生成性妇身体”的概念。“生成性妇女身体”既不同于父权制模式下的妇女身体,也不同于女性主义视域下的妇女身体,而是在一致中求差异、在差异中求一致的妇妇女身体,是一种回归到原初经验状态的、不曾进行本质界定的妇女身体,因为“生成性妇女身体”永远在生成之中。更多还原

【Abstract】 In the long process of the development of human culture, the patriarchal system, like a ubiquitous ghost, could be sensed everywhere. In the literary texts and the cultural texts, the women’s body becomes the field where men and the patriarchal society commit violence and oppression to women, and the tool that the patriarchal modes used to enslave women spiritually and maintain the gender system. The female body, as a sign, is rearranged by the patriarchal symbolic order, produced and organized by the language program and turned into the target of male consumption, that is to say, being put under the males’gaze, the subjectivity without images becomes the process of infinite protrusion and enlargement of physical organs and the factors of sex and re-produces the values needed by the patriarchal society. During this transformation, male’s control over the female body has experienced the development trend from dominant to recessive, from the protrusion of desire narration in literary texts to the incorporation of desire in the enlightenment, to the commercialization, visualization and simulacrum of female body, demonstrating the historical trajectory of the patriarchal tactics of controlling. Especially in modem society, by virtue of encoding, patriarchal society interprets sex code as the re-constructed consumption model of aesthetics of sensibility, and re-interprets cultural production and consumption as commodity production and consumption. Moreover, with the help of the dissemination and inducement of the mass media and the motivation of the commercial culture, it meticulously fabricates a sex fable with modernity characteristics and internalizes the connotation of the fable as the values and life styles of the consumers. Its essence is the replay of patriarchal cultural texts in the context of consumerism. This thesis, setting the literary works in tradition era and the film and TV works in image era as examples, tries to illustrate the effects of patriarchy in these two textual codes and the characteristics of its combination with the commodity consumerism and reveals the unequal gender concepts in the production and consumption of the sex code and analyses the role and attitude of intellectuals in the process.This thesis consists of introduction, body and conclusion. The introduction "female body, sex and media’s turn" makes a summary of female body by clarifying the concept of female body, pointing out the possible crisis poses by female body after linguistic turn. In the body part, five chapters, entitled respectively "female body and consumer society", "from symbol to code--modern transition of sex code", "production and consumption of sex code in tradition era", "production and consumption of sex code in image era", "textual analysis in different eras---aking certain kind of sex code in novel Taili and the movie of’Lust, Caution’for example", are elaborated. In the conclusion part, the whole content of this thesis is reviewed and summarized, the future development of female body predicted. In the chapter " female body and consumer society", the writer explores the origin and boundary of women’s body from angles of genealogy and existentialism, makes a probe on the encoding situation of women’s body in the consumer society. In the chapter entitled "from symbol to code---modern transition of sex code", tiie definitions of symbol and code are distinguished and then the development of female body from symbol to code in different texts is traced. Then the author analyzes the production and consumption of sex code in reading era and image era, shows the traits of sex code from explicitness to implicitness and the changes of consumers’cultural concept. The writer further points out that the relationship between texts containing sex code and the mainstream culture results in different treatments of female body as sex code in different periods, and reveals the historical circumstances of patriarchal system. Based on specific texts, the last chapter illustrates how the patriarchal system is inserted in the texts to deconstruct the subjectivity of women’s body and how it is combined with consumerism to spread and reproduce the patriarchal ideology. After analyzing Taili and other works written by Zhang Ziping, readers can find out that the limited resistance of female body as sex code is caused by its deviation from the theme of enlightenment. However, in the movie "Lust, Caution" with a rise of visual consumption culture and the establishment of new aesthetics principle, the spectacle of female body is being turned off to consumption object, writers, movie makers and consumers can reach a temporary agreement on the premise of desire consumption. This combination becomes the actual earth where the patriarchy concept grows, and historical premise on which patriarchy concept is becoming ideology.The reproduction and consumption of cultural sense of sex code arc not generated automatically but completed with the participation and promotion of patriarchy desire machine. It aims at, under the dominance of patriarchal cultural model, stimulating the consumers’desire and realizing the possession and dominance of female body in concept with the help of media transition and visual consumerism. Therefore, in conclusion, the concept of "generative female body" is proposed, which is not the female body under patriarchy model or the one under feminism, but the one which seeks differences from similarities and seeks similarities from differences. Returning to the original state of experience without essential definition, "generative female body" is always generating.更多还原