贵州大学学报:艺术版
貴州大學學報:藝術版
귀주대학학보:예술판
Journal of Guizhou University(Art Edition)
2012年
1期
46-50
,共5页
《玲珑》%电影明星%女性意识
《玲瓏》%電影明星%女性意識
《령롱》%전영명성%녀성의식
'Linglong'%movie star%feminine consciousness
《玲珑》创刊于1931年的上海,原名《玲珑图画杂志》,后期易名为《玲珑妇女杂志》,简称《玲珑》,1937年因抗战爆发而停刊,共出版了298期。《玲珑》在一个特殊的年代(1931—1937)完成了自己的历史使命:它借助好莱坞明星文化发动了一场轰烈的中国女性的自我革新运动;它用好莱坞明星的力量激励中国传统女性尽快摆脱小家碧玉式的贤淑形象、一变而成为有几分男子气概的女豪杰,这无疑适应了战争年代对女子的无声号召;同时也为被束缚了千年的中国女子撕开了一个反叛传统的狭小豁口。它始终对中国女性艰难的独立生存保持着一种难得的同情和怜爱的感怀;它将无法撼动的男尊女卑的压抑现实美化得分外狂欢;它用一种女性特有的俏皮和高傲将坚硬的事实柔化的格外令人兴奋与乐观。
《玲瓏》創刊于1931年的上海,原名《玲瓏圖畫雜誌》,後期易名為《玲瓏婦女雜誌》,簡稱《玲瓏》,1937年因抗戰爆髮而停刊,共齣版瞭298期。《玲瓏》在一箇特殊的年代(1931—1937)完成瞭自己的歷史使命:它藉助好萊塢明星文化髮動瞭一場轟烈的中國女性的自我革新運動;它用好萊塢明星的力量激勵中國傳統女性儘快襬脫小傢碧玉式的賢淑形象、一變而成為有幾分男子氣概的女豪傑,這無疑適應瞭戰爭年代對女子的無聲號召;同時也為被束縳瞭韆年的中國女子撕開瞭一箇反叛傳統的狹小豁口。它始終對中國女性艱難的獨立生存保持著一種難得的同情和憐愛的感懷;它將無法撼動的男尊女卑的壓抑現實美化得分外狂歡;它用一種女性特有的俏皮和高傲將堅硬的事實柔化的格外令人興奮與樂觀。
《령롱》창간우1931년적상해,원명《령롱도화잡지》,후기역명위《령롱부녀잡지》,간칭《령롱》,1937년인항전폭발이정간,공출판료298기。《령롱》재일개특수적년대(1931—1937)완성료자기적역사사명:타차조호래오명성문화발동료일장굉렬적중국녀성적자아혁신운동;타용호래오명성적역량격려중국전통녀성진쾌파탈소가벽옥식적현숙형상、일변이성위유궤분남자기개적녀호걸,저무의괄응료전쟁년대대녀자적무성호소;동시야위피속박료천년적중국녀자시개료일개반반전통적협소활구。타시종대중국녀성간난적독립생존보지착일충난득적동정화령애적감부;타장무법감동적남존녀비적압억현실미화득분외광환;타용일충녀성특유적초피화고오장견경적사실유화적격외령인흥강여악관。
First published in Shanghai in 1931,the magazine of "Linglong" derived its name from "Linglong Pictoral Magazine",which later renamed into "Linglong Women's Magazine".It published a total of 298 issues before coming to an end in 1937 because of the outbreak of the Anti-Japanese War."Linglong" had fulfilled its historical missions in a special era(1931-1937) in the following respects: it started an enthusiastic women's reformation movement in China with the help of the Hollywood star culture;it urged the Chinese women,with the power of Hollywood stars,to reject their traditional image of a lady and to embrace some masculine characteristics,which undoubtedly reflected the silent call for women during the war time;and at the same time,it offered a chance,though slim,for the Chinese women under thousands of years of oppression to break the traditions.It expressed an unusual sympathy and affection for the misery that Chinese women had suffered to struggle for independence through its wild beautification of the impossible-to-change ideology of man superiority and woman inferiority and its exciting and optimistic softening of the rigid fact with the humor and proudness unique to women.