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Aesthetics and Gender in Modern Society: Eighteenth-century Britain

现代社会的美学与性别：十八世纪的英国

基本信息

批准号：
13410016
负责人：
NAGANO Junko
金额：
$ 4.35万
依托单位：
Kobe University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (B)
财政年份：
2001
资助国家：
日本
起止时间：
2001 至 2002
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/en/grant/KAKENHI-PROJECT-13410016/
关键词：
Modern Aesthetics Sublime Picturesque Grand Tour Gothic Romance French Revolution Gender Nation State

项目摘要

In the eighteenth and early nineteenth Britain, where, in the relationship to aesthetic categories of the sublime and picturesque, Travel writings and Gothic novels were prevailing among the reading public, not a few women have tried to appropriate and internalize the language of aesthetics (aesthetic discourse), not only as readers/consumers but also as writers/producers. But in this period, woman was conventionally regarded as an aesthetic object (an object gazed) and as a kind of foil against which the main stream aesthetic theory defined the 'man of taste' as an educated, property-owning gentleman. So several woman writers felt uneasiness in their positioning as aesthetic subjects (gazing subjects), describing the natural scenery or exotic landscape and the people living and working there, and were apt to deviate from the standard language of the aesthetics of landscape. I found this deviation to be one of common characters among them, through my research especially into their travel writings, e.g. Lady M. W. Montague (Turkey), Janet Shaw (West Indies), Helen Maria Williams (France in its Revolutionary period), Ann Radcliffe (Holland and Germany), Mary Shelley (Germany and Switzerland) and so on. I would like to argue that these travel writings are reexamining aesthetic conventions such as the concept of contemplation, exposing its vested interests, and reveal the social and political logic of the modern aesthetic theory from the points of class, race and gender, through their very deviation or (seeming) inconsistency.

在18世纪和19世纪初的英国，旅行作品和哥特式小说在阅读大众中盛行，与崇高和风景如画的美学范畴的关系，不少妇女试图不仅作为读者/消费者，而且作为作家/生产者，吸收和内化美学语言（美学话语）。但在这一时期，女性通常被视为审美对象（被凝视的对象），是主流美学理论将“有品味的人”定义为受过教育、拥有财产的绅士的陪衬。因此，一些女作家对自己作为审美主体（凝视主体）的定位感到不安，对自然风景或异域景观以及生活和工作在那里的人们进行描写，容易偏离风景美学的规范语言。通过对他们的游记作品的研究，尤其是对M女士的游记作品的研究，我发现这种偏离是他们的共同特征之一。W. Montague（土耳其），Janet Shaw（西印度群岛），海伦·玛丽亚威廉姆斯（法国大革命时期），安·拉德克利夫（荷兰和德国），玛丽·雪莱（德国和瑞士）等。我想论证的是，这些游记是在重新审视沉思概念等美学惯例，暴露其既得利益，并从阶级、种族、性别的角度，通过它们本身的偏离或（表面上的）不一致，揭示出现代美学理论的社会政治逻辑。