女神,丹妮莉丝·坦格利安和我也是价值观

IF 0.1 0 FILM, RADIO, TELEVISION
Sharon Khalifa-Gueta
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引用次数: 0

摘要

本文将HBO电视剧《权力的游戏》(2011-19)中丹妮莉丝·坦格利安的形象解读为“我也是”运动的寓言,以及女性重获权力概念的象征性描述。她将新兴的龙母形象与古代对女神和龙的描绘联系起来,并将这一主题与20世纪70年代和80年代研究女性语言复兴的女权主义学者联系起来。这篇文章还指出,幻想艺术中描绘的女性裸体,尤其是女人和龙的形象,并不一定是令人兴奋的,而是早期女权主义阶段女性寻求象征性权力人物的代表。作者还将丹妮莉丝的形象与这些形象进行了对比,暗示她如何根据女权运动焦点的变化来展示母题的演变。她认为,丹妮莉丝的形象反映了“我也是”(Me Too)现象的核心问题之一——认为女性身体是一个避难所,即使暴露和暗示,也是危险的,禁止触摸。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Goddess, Daenerys Targaryen and Me Too Values
Abstract In this article the author interprets the image of Daenerys Targaryen from the HBO television series, Game of Thrones (2011–19) as an allegory for the Me Too movement and as a symbolic depiction of the concepts of women regaining their power. She follows the connection between the emerging visualization of Daenerys with the tiny dragons and ancient depictions of Goddesses and dragons, and connects this motif to feminist scholars who researched the revival of feminine language in the 1970s and the 1980s of the 20th century. The article also suggests that the nudity of women depicted in fantastic art, particularly in images with women and dragons, are not necessarily titillating but representative of the early feminist stage of women seeking a symbolic power figure. The author also contrasts Daenerys’s visualization with those images, suggesting how she demonstrates the evolution of the motif in light of the changing focal points of feminist movements. Daenerys’s image, she suggests, reflects one of the central issues of the Me Too phenomenon – considering the female body as a sanctuary, which even if exposed and suggestive, is dangerous and forbidden to touch.
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