韩国偶像mv中的辩证法女性叙事研究——以女团“红丝绒”为例

Hye-won Lee
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摘要

本研究旨在透过黑格尔的辩证法,检视女团“红丝绒”mv中出现的辩证女性叙事。在本研究所针对的天鹅绒概念的红丝绒歌曲中,女性成为叙事主体,表达女性主体自我实现的“女性叙事”是一个中心元素。从宏观上看,这些歌曲形成了“这些-反这些-合成器”的关系,从史诗上看,它们构成了“分-合-分-合”的方面。总的来说,“这些”是一种对回归男权和男性中心社会的犹豫,而“反这些”则象征着克服这种犹豫,建立一个独立自主的自我的决心。换句话说,在“分裂”的情况下,犹豫在没有被克服的情况下被解决或完成,而在“整合”的情况下,犹豫被克服,自我同一性被发现。从四首歌的关系以一种反和谐的关系结束可以看出,以红丝绒为代表的女性群体克服了这种犹豫,固化了身份,实现了自我实现。Red Velvet mv中的“These-Antithese-Synthese”的逻辑可以从Red Velvet进一步扩展为对韩国社会中女子团体所面临的处境的隐喻。对于以商业主义为目标的女子团体来说,女权主义本身往往是禁忌,但从2010年代中期开始,性别问题作为社会文化问题出现,女子团体也开始发生变化。女团成员们直接或间接地支持女权主义,策划女团的机构也引进了“Girl crush”和主张女权主义的女团。然而,这一举动仍然停留在商业层面,女团关于女权主义的言论比以前更加谨慎。因此,女团在韩国社会的处境非常复杂,因此她们不断重复着对男权社会的顺从和拒绝态度。当社会上对女性主义的反思和关注不断增加时,女团才能在音乐中增添真诚。
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A Study on the Dialectic Female Narrative in Korean Idol Music Video: Focused on the girl group “Red Velvet”
The purpose of this study is to examine the dialectical female narrative that appears in the music video of the girl group “Red Velvet” through Hegel's dialectic. In the red velvet song with the velvet concept targeted in this study, “Women's narrative,” in which women become the subject of narrative and express the self-realization of the female subject, is a central element. Macroscopically, these songs form a “These-Antithese-Synthese” relationship, and epicly, they consist of a “divide-integration-divide-integration” aspect. In general, “These” is a hesitation to return to a patriarchal and male-centered society, and “Antithese” is symbolized by a determination to overcome this hesitation and build an independent and independent self. In other words, in the case of “divide”, hesitation was resolved or completed without being overcome, and in the case of “integration”, hesitation was overcome and self-identity was found. Given that the relationship between the four songs ends in an anti-harmony relationship, it can be seen that the female community represented by Red Velvet overcame this hesitation, solidified its identity, and achieved self-realization. This logic of “These-Antithese-Synthese” in Red Velvet's music video can be expanded further from Red Velvet to a metaphor for the situation that girl groups face in Korean society. For girl groups aimed at commercialism, feminism tended to be taboo in itself, but since the mid-2010s, gender issues have emerged as socio-cultural issues, and girl groups have also begun to change. Girl group members show direct or indirect support for feminism, and the agency that plans girl groups has also introduced girl crush and girl group that advocates feminist concepts. However, this move remains at the commercial level, and the girl group's utterance on feminism is becoming more cautious than before. As such, the situation facing girl groups in Korean society is very complicated, so girl groups are constantly repeating their attitude of conformity and rejection to the patriarchal society. When there is constant reflection and concern about feminism socially, girl groups will be able to add sincerity to their music.
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