Representing the belly-dancing body: feminism, orientalism, and the grotesque
Representing the belly-dancing body: feminism, orientalism, and the grotesque
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肚皮舞身体的代表：女权主义、东方主义和怪诞
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发表时间：
2005
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通讯作者：
Virginia Keft
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作者：
Virginia Keft
本文追溯了世纪末至2005年，肚皮舞在西方文学与文化中的话语建构谱系。借鉴文学研究，文化研究和舞蹈研究的理论视角，它需要一个跨学科的方法来分析肚皮舞的表征。它探讨了这种舞蹈如何被种族，性别和体现意识形态的重大社会文化转变所塑造。即兴表演的中东舞蹈，也被称为肚皮舞，是西方流行文化中一种高度认可和普遍存在的舞蹈形式，但肚皮舞的主题在任何学术领域都仍然被严重低估。这项研究将肚皮舞身体作为一个合法的分析对象，揭示了社会意义是如何通过表演产生的，以及舞蹈的身体是如何铭刻和阅读种族，性和性别的标记。在研究性别和种族的政治在肚皮舞的表现，这项研究带来承担三个关键的理论形态：女权主义，东方主义和怪诞。它关注的是肚皮舞被神话化，代表和构建在一系列文本中的复杂方式，如殖民地旅行写作，小说和流行文化中的图像。此外，本论文亦探讨新殖民主义、商品化、消费文化、性与女性化身观念在肚皮舞表现中的交集。
This thesis traces the genealogy of the discursive construction of belly dance in literature and culture in the West from the late nineteenth century to 2005. Drawing on theoretical perspectives from literary studies, cultural studies, and dance studies it takes an interdisciplinary approach to the analysis of representations of belly dance. It explores how this dance has been shaped by major socio-cultural shifts in ideologies of race, gender, and embodiment. The solo improvised Middle Eastern dance, also known as belly dance, is a highly recognisable and strikingly pervasive dance form in Western popular culture, yet the topic of belly dance has remained significantly under-analysed in any academic field. This study brings the belly-dancing body into focus as a legitimate object of analysis that exposes how social meanings are produced through performance, and how dancing bodies are inscribed with, and read through, markers of race, sexuality, and gender. In examining the politics of gender and race in the representation of belly dance, this study brings to bear three key theoretical formations: feminism, Orientalism, and the grotesque. It is concerned with the complex ways in which belly dance has been mythologised, represented, and constructed in a range of texts such as colonial travel writing, fiction, and images from popular culture. In addition, this thesis also explores the intersections of (neo)colonialism, commodification, consumer culture, sexuality, and notions of female embodiment in representations of belly dance.