涂鸦女孩:俄罗斯青年亚文化的性别特征

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY
Yuliya A. Kuzovenkova
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引用次数: 0

摘要

作者描述了女孩在涂鸦社区和街头艺术运动中的作用。比较了美国和俄罗斯的情况。俄罗斯的研究结果基于对来自萨马拉、新西伯利亚、格拉提宁和莫斯科的女孩的采访。根据美国研究人员的研究,法律和个人的危险以及涂鸦的反叛性质是作家将其概念化为男性的因素,并将其作为证明其男子气概的成就。因此,有意地排斥女性作家对(男性)作家身份的发展至关重要。在20世纪80年代,只有少数女性进入了亚文化,她们经历了一些困难。这些女性通常被男性作家描述为“淫荡”。尽管如此,这一事实并没有阻止女性作家,但它影响了她们的数量和她们作品的认可(或缺乏认可)。从纽约女作家的开创性作品开始,女性在男性主导的涂鸦世界中的存在已经大大扩展到我们的时代。今天的女性作家从两个相反的角度来看待她们的写作。有些人利用写作的匿名性来掩饰自己的性别,或者至少不引起人们的注意,而另一些人则热衷于通过题材、色彩和风格,使自己的作品显得明显女性化。在俄罗斯的涂鸦亚文化中,以及在美国的亚文化中,存在着性别不对称。这是由于这种亚文化的意识形态、价值观和行为规范在性格上明显是男性化的。意识形态促进了涂鸦艺术家活动的非法性质,这与高度危险有关。因此,女孩很少去这个地方。在大多数情况下,如果她们的男朋友也订婚了,女孩就会开始涂鸦。他们成为女孩的导师和安全保障。但女孩们很少把涂鸦视为一种自我实现的方式。对她们来说,涂鸦是扩大与男友共同兴趣范围的一种方式。因此,对女孩来说,涂鸦本身并不具有价值,而是作为一种帮助与男孩建立关系的工具。涂鸦吸引了那些有创造性活动倾向的女孩。创造性地实现自我的机会吸引着女孩们走上街头艺术:她们把它作为一种专业的自我实现手段,因为在这种艺术中,人们看重的是实用的艺术能力,而不是身体上的能力和危险。女孩们根据自己的目的选择风格。涂鸦社区内部的情绪不会影响它。亚文化中没有特定的女性角色。涂鸦中的女性气质被视为男性气质的弱化变体。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
GRAFFITI GIRLS: GENDER FEATURES OF RUSSIAN YOUTH SUBCULTURE
The author describes the role of girls in the graffiti community and street art movement. The situation in the United States and in Russia are compared. Russian research results are based on interviews with girls from Samara, Novosibirsk, Gratifying, and Moscow. According to American researchers, the legal and personal dangers and the rebellious nature of writing graffiti are factors that writers conceptualize as male and use as achievements attesting to their masculinity. The purposeful exclusion of female writers is thus essential to the development of a (male) writer's identity. There were just a few women who penetrate the subculture during the 1980s, and they did with some difficulty. The women are typically characterized by male writers as “slutty”. Still, this fact has not deterred female writers but it has affected their numbers and the recognition (or lack thereof) of their work. Beginning with the pioneering work of NYC female writers, women's presence in the male-dominated world of graffiti has greatly expanded to our days. Today's female writers approach their writing from two opposite angles. Some take advantage of the anonymity of writing to disguise their sex or at least not call attention to it, while others are keen to make their work, through subject matter, colour, and style, appear blatantly feminine. In the Russian graffiti subculture, as well as in the American one, there is a gender asymmetry. This is due to the fact that the ideology, values and norms of behavior of this subculture are pronounced masculine in character. Ideology promotes the illegal nature of the activities of graffiti artists which is associated with a high level of danger. Therefore, girls rarely go in this area. In most cases, girls begin to draw graffiti, if their boyfriend is also engaged. They become a mentor and guarantor of security for girls. But girls rarely see graffiti as a way of self-realization. Graffiti for them is a way to expand the range of common interests with their boyfriends. Thus, graffiti for girls often has value not in itself, but as a tool that helps to build relationships with boys. Graffiti attracts girls who have a tendency to creative activity. The opportunity to creatively realize themselves attracts girls to street art: they use it as a means of professional self-realization, as in this art practical artistic abilities are valued, not the physical abilities and danger. Girls choose style in accordance to their aims. The mood inside the graffiti community doesn't affect it. There are no specific female roles in the subculture. Femininity in graffiti is seen as a weakened variant of masculinity.
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