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"Horse Girls": Structure and Sensuality of a Youth Cultural Figure

“马姑娘”：青年文化人物的结构与感性

基本信息

批准号：
396475051
负责人：
Dr. Anja Schwanhäußer
金额：
--
依托单位：
Institut für Kulturanthropologie/Europäische Ethnologie
依托单位国家：
德国
项目类别：
Research Grants
财政年份：
2018
资助国家：
德国
起止时间：
2017-12-31 至 2021-12-31
项目状态：
已结题

来源：
https://gepris.dfg.de/gepris/projekt/396475051?language=en
关键词：
Horse Girls Structure Sensuality Youth

项目摘要

Girls who spend much time with horses are part of a youth subculture that conventionally signifies femininity. The basic assumption of the project is that the figure of the 'horse girl' represents, but also unexpectedly challenges, the social order of gender, age, and human-animal-hierarchies, and that it does so in a specifically subcultural way. Understanding the structure and sensuality of this cultural figure calls for an ethnographic cultural analysis whose methodology both adheres to and challenges the traditional ethnography of subcultures. This approach requires field research into two riding stables, spaces where sensual cultural practices such as 'understanding without words', affection and admiration, as well as the interplay of devotion and control are explored with an ethnographic sensibility through participant observation. Following classical youth gang studies, the project examines the social dynamics within the girl groups in relation to the horses in their care; it also explores their collective style. The two stables are studied in a comparative manner, with one catering mostly to a lower and middle-class membership, while the other serves a predominantly upper-class clientele. These research sites are chosen in order to examine if and to what extent the 'horse girl' is a particularly 'popular' figure, i.e. a figure that transcends distinct strata of society. On the whole, the 'horse girls' are conceptualized not just as a social group; rather, they emerge through an interplay of sensual, (everyday) practical stylizations, media representations, and interactional labeling. Thus, various media material that is used and appropriated by the girls as well as internet-based social media are interpreted through a qualitative cultural analysis in order to grasp the figure's entire character. This youthful, female desire has been identified by Anna Freud as early as 1965, who named it "a little girl's horse craze". However, within the tradition of ethnographic research of youth and subcultures, this "craze" has been hardly given any attention up until today. This is due to the predominantly masculine research paradigms of subcultural studies, but it also derives from the cultural logic of youth subcultures themselves and the meaning of conventional femininity holding sway in this field. From this vantage point, girls are either marginalized and confined to domestic settings, or they are given the role of radical rebels ("riot grrrls"). If horse girls happen to appear at all, they are referred to mostly with a decidedly ironic stance. But, as it happens, this figure manages to show quite strikingly the dynamics of female exclusion and inclusion, deviance and compromise, that need to be interpreted within their own frame of reference. It forms a well defined counterworld to male-dominated youth subcultures, calling for a conceptual readjustment of the ethnography of youth subcultures that promises to enrich the discipline as a whole.

花很多时间与马在一起的女孩是青年亚文化的一部分，传统上意味着女性气质。该项目的基本假设是，“马女孩”的形象代表了，但也出乎意料地挑战了性别，年龄和人类动物等级的社会秩序，并且它以一种特定的亚文化方式做到了这一点。要理解这一文化形象的结构和性感，需要一种民族志文化分析，其方法既坚持又挑战传统的亚文化民族志。这种方法需要实地研究到两个骑马马厩，空间的感性文化习俗，如“理解没有字”，感情和钦佩，以及奉献和控制的相互作用进行了探索与民族志的敏感性，通过参与观察。在经典的青年帮派研究之后，该项目研究了女孩群体中与他们照顾的马有关的社会动态;它还探索了他们的集体风格。这两个马厩进行了比较研究，其中一个主要是迎合中下层阶级的成员，而另一个主要是上层阶级的客户。这些研究地点的选择是为了研究“马女”是否以及在多大程度上是一个特别“受欢迎”的人物，即一个超越不同社会阶层的人物。总的来说，“马女孩”不仅仅是一个社会群体的概念化;相反，他们通过感官的相互作用，（日常）实用的风格化，媒体表现和international标签出现。因此，通过定性文化分析来解释女孩使用和占用的各种媒体材料以及基于互联网的社交媒体，以掌握人物的整个性格。早在1965年，安娜弗洛伊德就发现了这种年轻女性的欲望，她将其命名为“小女孩的马热”。然而，在青年和亚文化的民族志研究传统中，这种“热潮”直到今天才得到重视。这是由于亚文化研究的主要男性研究范式，但它也源于青年亚文化本身的文化逻辑和传统的女性气质在这一领域占据主导地位的意义。从这个Vantage来看，女孩要么被边缘化，被限制在家庭环境中，要么被赋予激进叛乱分子的角色（“暴动grrrls”）。如果马女孩碰巧出现在所有，他们被称为大多是一个决定性的讽刺立场。但是，碰巧的是，这个数字设法相当惊人地显示了女性排斥和包容，越轨和妥协的动态，需要在他们自己的参考框架内解释。它形成了一个明确的反世界男性主导的青年亚文化，呼吁青年亚文化的民族志，承诺丰富整个学科的概念调整。