Lo娘的“三次元”文化空间——女性主义后亚文化视角下的穿着经验

徐亚萍, 穆白玥

国际新闻界 ›› 2021, Vol. 43 ›› Issue (10) : 50-68.

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国际新闻界 ›› 2021, Vol. 43 ›› Issue (10) : 50-68.
本期话题/亚文化研究

Lo娘的“三次元”文化空间——女性主义后亚文化视角下的穿着经验

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The “Third Dimension” Cultural Space of Lolita: A Feminist Post-subcultural Study on the Dressing Experience

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摘要

本研究结合女性主义物质文化研究视角和后亚文化范式,在穿着经验范畴中,考察本土Lolita参与者(Lo娘)与脱胎于网络的审美人造物(Lo裙)的关系,以此理解性别化、媒介化的环境中少女的主体意识。研究着重考察了性别规范、数字网络技术与参与者实践的相互关系,检视参与者自我叙事与流行Lolita形象的关系。研究发现,既赋能又施压的数字网络,推动了少女与人造物的结盟,构成了Lo娘寻求自我认同、疏远群聚认同的“三次元”私人领域。“三次元”揭示了一种更广泛的、扬弃数字网络的“后数字”意识构型阶段,穿着Lo裙在此成为模仿肉身具身的确定亲密感、协商媒介化现实的超具身实践。文章最后讨论后亚文化主体的超具身实践对于女性主义政治和文化研究的启示。

Abstract

Combining the feminist perspective on material cultures and the post-subcultural paradigm, we examine the dressing experiences of local Lolita girls, to understand the subjectivity of girls in the gendered and mediatized milieu. The study analyzed the interplay of gender norms, digital web technologies and participant experiences, and the tension between self-narratives and popular representations. It finds that technologies are both empowering and inserting pressures, encouraging the alliance between Lolita participants and the artifacts, which constitutes the “third dimension” private sphere of Lolita. It suggests a further developed stage of “post-digital” consciousness configuration that is characterized by a sublation of digital networks, where dressing becomes a hyper-embodied practice as a mimesis on qualitatively secure and intimate experience of the corporeal embodiment, negotiating with the mediatized reality. We discuss the theoretical implications of the hyper-embodiment of the post-subcultural subject for feminist politics and cultural studies.

关键词

Lolita / 性别 / 泛二次元 / 后亚文化 / 超具身

Key words

Lolita / gender / pan-second-dimension culture / post-subculture / hyper-embodiment

引用本文

导出引用
徐亚萍, 穆白玥. Lo娘的“三次元”文化空间——女性主义后亚文化视角下的穿着经验[J]. 国际新闻界. 2021, 43(10): 50-68
XU Yaping, MU Baiyue. The “Third Dimension” Cultural Space of Lolita: A Feminist Post-subcultural Study on the Dressing Experience[J]. Chinese Journal of Journalism & Communication. 2021, 43(10): 50-68

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注释 [Notes]

1. 本研究聚焦的是“千禧后”的女性Lolita(2000-2009年出生),尽管她们与欧美语境中的网络原住民“Z世代”(1995-2009年出生)以及本土社会新生群体“00后”有所重合,但更彰显了一种症候性的意识,即追求扬弃数字网络的“三次元”私人领域的意识。千禧后Lo娘仅是本土Lolita实践者的一部分,本土Lolita也包括“80后”“90后”Lolita,以及“Lo汉”(即穿着Lolita服装的男子)。本文聚焦于千禧后Lo娘的原因既因为样本的局限,也源于这类参与者在本土Lolita实践者中占比最大。因此,后文提到本土Lolita时,指的是本土的千禧后Lo娘。

2. 文中未标注来源的直接引用内容,均来自访谈内容。

3. 比如,二次元平台B站的吉祥物是被称为“站娘”的“22娘”和“33娘”,这两个虚拟形象由用户设计和投票产生,被定位为“二次元爱好者”。

4. 将裙子挂在人体模特上进行展示,是商家对商品样式的直接展现方式。

5. 由模特穿戴进行展示,一般设定某种背景,类似“写真”。

6. 本文在此借用并发展斯科特(D. Travers Scott)(2010)的超具身概念。在斯科特的语境中,超具身强调计算机用户的虚拟能动性(面对电脑界面时持续拖拽、点击、打开等操作)是比肉身移动还要具身的经验,因为超具身涉及肉身和数字界面之间的持续协商这一规训原初肉身的物质维度。本文在保留斯科特原意的基础上,更强调新模拟活动对数字活动的驯化、现实的媒介化所带来的新具身经验,及其与性别结构等社会结构的紧密关联,比如在Lo娘的衣着经验中,肉身运动和想象被用来扬弃网络群聚意识。超具身实践意味着对现实的经验成为扬弃网络的、对肉身具身的模仿。


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