跨性别表演在消费社会遭遇的反讽——以青年“视觉系”文化为例

发布时间：2018-03-31 01:38

本文选题：华丽摇滚　切入点：跨性别　出处：《文化艺术研究》2017年03期

【摘要】：20世纪70年代兴盛于英美的华丽摇滚及其带动的变装表演,既成为女性主义及跨性别理论的分析战场,也让时尚界看到了商机:摇滚乐手们任意挪用夸张的"视觉系"符号,使身体成为追求跨性别认同的表演;然而他们刻意追求的戏剧性和舞台感,又不自觉地拉开了与观众的距离,淡化了其激进革命的力量。当这场身体表演变得流行化与审美化之后,时尚消费文化的介入,对原本反讽式的跨性别表演加以再次反讽,使性别革命变得模棱两可。传入日本成为视觉系摇滚,传入中国转变成"杀马特""非主流"群体后,其中的革命性完全被商业化消费所取代,跨性别身体表演最后反而强化了"菲勒斯中心主义"性别二元论。
[Abstract]:The ornate rock and cross-dressing performances that flourished in the United States and the United States in the 1970s became both a battleground for feminism and transgender theory, and a business opportunity for the fashion world: rock musicians arbitrarily misappropriated exaggerated "visual system" symbols. Make the body a transgender identity act; however, their deliberate pursuit of drama and a sense of stage unconsciously distanced themselves from the audience. Played down the power of its radical revolution. As the body performance became popular and aesthetic, fashion consumer culture stepped in to re-satirize the original ironic transgender performance. The gender revolution became ambiguous. When it was introduced into Japan to become a visual rock and into China into a "kill Matt" "non-mainstream" group, the revolution was completely replaced by commercial consumption. Transgender body performance eventually reinforces the gender dualism of Philistinism.
【作者单位】：南京大学文学院;
【分类号】：G112

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