Agnieszka Całek
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引用次数: 0

摘要

不是那些无赖。女仆是一个跨媒体故事的主角,这个故事始于玛格丽特·阿特伍德(Margaret Atwood)关于基列(Gilead)政权的反乌托邦小说,在这个政权中,妇女被剥夺了权利。这些使女是一个独特的群体——她们有生育能力,这在这个饱受不孕症困扰的国家是罕见的。这些女性被当作对象,被分配给来自最特权阶层的无子女夫妇作为代孕母亲。由于为Hulu平台制作的新一代电视连续剧,使女的形象变得流行起来,随后开始被用于争取妇女权利。在文章的第一部分中,作者分析了使女及其在反乌托邦叙事中的地位,在第二部分中,作者分析了使女在关于妇女权利的社会话语中的使用方式。在这篇文章中,作者将重点放在表演运动、企业社会责任以及角色与#metoo运动之间的联系上。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Nolite te bastardes carborundorum. Podręczna w dyskursie medialnym o prawach kobiet
Nolite te bastardes carborundorum. The handmaid in the media discourse about women’s rightsThe handmaid is the protagonist of a transmedia story begun with Margaret Atwood’s dystopian novel about Gilead, a regime in which women are deprived of their rights. The handmaids are a unique group — they are fertile, a rarity in a country plagued by infertility. The women, treated as objects, are allocated as surrogates to childless couples from the most privileged class. The image of the handmaid became popular thanks to a new generation television series produced for the Hulu platform, and subsequently begun to be used in the fight for women’s rights. In the first part of the article the author analyses the handmaids and their place in the dystopian narrative and in the second — the way in which they are used in the social discourse about women’s rights. In this the author focuses on performative campaigns, corporate social responsibility and links between the characters and the #metoo campaign.
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