Spinning Silk, Weaving Selves: Nostalgia, Gender, and Identity in Japanese Craft Vacations
Spinning Silk, Weaving Selves: Nostalgia, Gender, and Identity in Japanese Craft Vacations
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纺丝，编织自我：日本工艺假期中的怀旧、性别和身份
DOI：
10.1080/10371390120048722
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发表时间：
2001
期刊：
影响因子：
0.5
通讯作者：
M. Creighton
中科院分区：
文献类型：
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作者：
M. Creighton
在这篇文章中，我提出并探讨了为期一周的住宅编织研讨会的性质在日本阿尔卑斯山长野县为日本妇女进行。这些研讨会的结构和背景反映了渗透日本社会和文化的过程。与此同时，这些研讨会与其他现代后工业社会中当代工艺的意义有许多相似之处。手工艺在这里被证明是唤起或吸引怀旧之情，特别是对工业化前的过去的渴望，伴随着工业化的全面实现和随之而来的城市化进程。虽然手工艺生产发生在日本的城市中心，但这些编织研讨会反映了农村的普遍浪漫化，通常与怀旧有关。工艺品经常被用来构建民族认同。民族或文化特征也往往是通过与其他民族或文化的对立对比来构建的。在日本的例子中，身份标记通常与西方国家或其他亚洲国家或两者形成对比。被认为代表“传统过去”的工艺品被宣传为日本身份的象征，以挫败西化所造成的文化和身份丧失的威胁。与此同时，这些工艺品被认为与其他亚洲国家的类似传统有所不同。丝绸和丝绸编织是日本人自我的主要隐喻。丝绸在日本有着悠久的历史，是现代身份的标志，因为它与西方国家的传统形成鲜明对比，也与亚洲其他地区的丝绸生产不同。丝绸能够充分发挥这种身份功能，尽管它既不是日本本土的，也不是日本独有的-丝绸加工长期以来一直是许多亚洲社会的一部分。其他地方的工艺品也同样被用作民族身份的象征。例如，在美国和加拿大，绗缝成为民族传统的工艺和概念融合的象征。绗缝可以被两个社会接受为代表特定历史传统的文化象征，这表明一种工艺不一定是特定社会特有的，也可以被接受为文化身份的象征。在日本的研讨会上，性别的文化结构也被编织到丝绸生产中。在现代社会中，围绕着经济分化，以及围绕着工艺的消费主义的矛盾性质，存在着相似之处。重新捕获工艺品的愿望，
In this article, I present and explore the nature of one-week residential weaving seminars conducted in the Japanese Alps of Nagano Prefecture for Japanese women. The construction and context of these seminars re ect processes that permeate Japanese society and culture. At the same time, there are many parallels between these seminars and the meanings of contemporary craft in other modern post-industrial societies. Craft is shown here to invoke or appeal to a sense of nostalgia, particularly a sense of longing for the pre-industrial past that accompanies the full realization of industrialization and the concomitant process of urbanization. Although craft production occurs in urban centres in Japan, these weaving seminars re ect a generalized romanticization of the countryside often associated with nostalgia inducing re ections on craft. Crafts are frequently used in the construction of a national identity. National or cultural identities are also often constructed through oppositional contrasts with other nations or cultures. In the Japanese case, identity markers typically draw a contrast to western countries, to other Asian countries, or both. Crafts thought to represent a ‘traditional past’ are promoted as symbols of Japanese identity, serving to thwart the threat of culture and identity loss engendered by westernization. At the same time, these crafts are asserted to be somehow different from similar traditions found in other Asian countries. Silk, and silk-weaving, serve as dominant metaphors for the Japanese self. Silk has a long history in Japan, and is a modern marker of identity because it contrasts with traditions of western countries, and is also presented as distinctive from silk production in other Asian areas. Silk is able to ful l this identity function although it is neither asserted to be indigenous to Japan, nor thought to be unique to Japan—silk processing having long been part of many Asian societies. Crafts elsewhere have similarly been used as symbols of national identity. For example, in both the United States and Canada quilting becomes a symbol where craft and concepts of national heritage merge. That quilting can be embraced by both societies as a cultural symbol representing a particular historic tradition, shows that a craft need not be unique to a given society to be embraced as a symbol of cultural identity. Cultural constructions of gender are also woven into the production of silk in the Japanese seminars. There are parallels surrounding economic differentiation in modern societies, and the paradoxical nature of consumerism surrounding craft. The desire to re-capture crafts,