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QUO VADIS, DOMINA? : フェミニズム美術史・ジェンダー批評についての覚書
https://doi.org/10.18878/00002291
https://doi.org/10.18878/00002291353eb83a-f71f-46f5-9ddc-fc77ac7f989d
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KJ00004040956 (712.1 kB)
|
神戸女学院大学
女性学インスティチュート |
| Item type | 紀要論文(ELS) / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2004-03-31 | |||||
| タイトル | ||||||
| タイトル | QUO VADIS, DOMINA? : フェミニズム美術史・ジェンダー批評についての覚書 | |||||
| タイトル | ||||||
| タイトル | QUO VADIS, DOMINA? : A Note on Feminist Art History & Gender Criticism | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.18878/00002291 | |||||
| ID登録タイプ | JaLC | |||||
| ページ属性 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | P(論文) | |||||
| 記事種別(日) | ||||||
| 値 | 研究ノート | |||||
| 記事種別(英) | ||||||
| 言語 | en | |||||
| 値 | Notes | |||||
| 論文名よみ | ||||||
| その他のタイトル | QUO VADIS, DOMINA フェミニズム ビジュツシ ジェンダー ヒヒョウ ニ ツイテ ノ オボエガキ | |||||
| 著者名(日） |
浜下, 昌宏
× 浜下, 昌宏 |
|||||
| 著者名(英) |
HAMASHITA, Masahiro
× HAMASHITA, Masahiro |
|||||
| 著者所属（日） | ||||||
| 値 | 神戸女学院大学文学部総合文化学科 | |||||
| 要旨（英） | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | What do feminist art historians and gender critics intend to do? What will become of their activities in the future? Considering their development, we can detect three stages. The first can be called complementary one, that is, the claim of fair treatment of female artists in art historiography. Feminist art historians have made the greatest efforts to excavate women artists hidden or neglected deeply in history; most of them were, according to the claim, disregarded by male art historians. The second stage is that of disclosure, to expand historical topics discussed in the discipline of art history: those topics relating to motifs and subjects in terms female figures, e.g. Eve, Maria, Susanna in holy scriptures, and Venus, Diana in Greek myths. Also social problems around women, depicted in pictures such as the works in the Victorian Age, have been picked and treated to reveal the gaze and violence under the patriarchal system. Then, after "the complement" of the first stage and "the disclosure" of the second, the third stage may be that of challenge and confrontation against patriarchal regime all over not only in the art historians' society but also in society in general. The development of feminist art history and gender criticism has been mostly based on "constructivism", i.e. theoretical armament in defense of the rights, position and claim on the side of women. | |||||
| 雑誌書誌ID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN10066294 | |||||
| 書誌情報 |
女性学評論 en : Women's studies forum 巻 18, p. 101-115, 発行日 2004-03-31 |
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