摘要
音乐作为一种艺术形式,从来都不是纯粹娱乐性的东西。在我国,至少在西周时期,统治者更看重的是音乐的政治教化功能。可是自从春秋礼乐崩坏之后,一种纯粹观赏性的娱乐形式——女乐,异军突起,成为公卿贵族把玩的对象。女艺人们不仅以艺娱人,也以色娱人,是没有人身自主权的一群人。因此,当商业经济的发展为妇女的商品化提供客观条件时,娼妓的出现就是一种必然,当一部分女性直接靠出卖肉体生存时,也就意味着女性商品化过程的最终完成。
Music, as an artistic form, has never been purely recreational. In China, at least in the Western Zhou Period, the rulers paid more attention to the function of political education. However, since the Spring and Autumn Period when the Chinese Rites were broken, the female musician, a purely ornamental form of entertainment, emerged, and became a target that Gongqing aristocracies appreciated and played. The female artists entertained people not only by their artistic performance but also by their bodies. They were a group of people that had no personal autonomy. Therefore, when the development of commercial economy provides objective conditions for the commercialization of women, the emergence of prostitutes is inevitable. When some women have to survive by directly selling their bodies, the women's commercialization process has finally completed.
出处
《大连大学学报》
2010年第5期14-16,共3页
Journal of Dalian University
关键词
古乐
女乐
妇女的商品化
ancient music
female musicians
commercialization of women