从“范式转换”到“分殊正典”——论格里塞尔达·波洛克女性主义艺术史对正典的解构(上)

From “Paradigm Shift” to “Differencing the Canon”——Deconstruction of Canon by Griselda Pollock Feminist Art History(Ⅰ)

格里塞尔达·波洛克是英国著名的女性主义艺术史家，她的女性主义理论结合了艺术社会史、精神分析学、符号学、解构主义等多重理论维度，解析了古往今来女性、艺术与意识形态之间复杂的建构关系，并从中发现了诸多前代女性艺术史家未能注意到的盲点甚至根本性的误区。在《分殊正典——女性主义欲望与艺术史书写》一书中，波洛克对传统男权化正典进行了独特的重读与重审，也对早期女性主义理论进行了反思。通过女性主义对艺术史的介入，波洛克揭露了性别差异与艺术创作、艺术家与观看这三个链条上细微的体现。本文将围绕《分殊正典》的主要观点，结合作者之前的两本重要著作：《卉代女大师：女性、权力与意识形态》及《视觉与差异：女性主义、女性气质和艺术的历史》，分析波洛克如何从全新的女性主义视角解构艺术史上的经典，并采用独到的“艺术母语”重新理解艺术史，从而让女性主义艺术史超越了简单的性别权力斗争，建构了后现代之后女性艺术史的视野，最终将差异、重审、转化融入到当今的艺术史研究当中。

Griselda Pollock is the famous British feminist art historian, whose theory of feminist has integrated various theoretical dimensions of Social History of Art, Psychoanalysis, Semiology, Deconstructionism,etc, analyzing the sophisticated constructive relationship of female, art and ideology from ancient times to present, and discovering the blind points and radical misconceptions that previous feminist art historians didn＇t find. In Differencing the Canon： Feminist Desire and the Writing of Art＇s Histories, Pollock reviewed the canon of traditional patriarchy, and made reflection on early feminist theory. Through the intervention of feminist theory in art history, Pollock revealed the subtle representation in gender difference, art creation, artists and viewing. With the major points of view of Diltbrencing the Canon, this article combines two important works of The Old Mistress： Women, Art and Ideology and Vision and DilFerence： Femhlism, Femhffnity and Histories of Art to analyze how Pollock deconstructed the classic in art history from the brand new feminism perspective, applying unique ＂mother tongue of art＂ to acquire the new understanding of art. Thus, feminist art history goes beyond simple conflicts of gender power, constructs the feminist art history＇s vision after post-modernism, and finally integrates difference, review and transformation in current research of art history.