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Performing Witnessing: Art, Sexual Trauma, and Feminist Pedagogy

机译：表演见证：艺术，性创伤和女性主义教育学

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摘要

Feminist art pedagogy can enable sexual trauma subjects to bear witness through art creation. The experience of sexual trauma harms a sense of subjectivity; and, thus, the restoration of subjectivity is critical for bearing witness to trauma. Subjectivity is an individualfs sense of existence whereby the individual can consciously make and act upon decisions. By examining bearing witness through art within the context of feminist art pedagogy, my study reveals how feminist art pedagogy has enabled trauma subjects to actively discover, interpret, and, thereby, comprehend their trauma through art making experiences.;Specifically, I examine how feminist art pedagogy enabled art creation as bearing witness by four sexual trauma subjects and three trauma artworks created in feminist art courses. These include former Korean comfort woman Duk-kyung Kang and her painting Stolen Innocence (1995), created in Gyung-shin Lee and Sook-jin Kim's informal art course for surviving comfort women; co-artists Katie Grone and Joshua Edwards et al.'s group installation art Rape Garage (2001), created in Judy Chicago and Donald Woodman's undergraduate course the At Home: A Kentucky Project at Western Kentucky University; and my own performance and installation art Honoring Comfort Women, created in Karen Keifer-Boyd's graduate art course Judy Chicago PSU: Art, Pedagogy, Exhibition, & Research at the Pennsylvania State University. I intertwine Kang, Grone, Edwards, and myself in a visual mapping and performative autoethnography.;Creating visual mapping and performative autoethnography is a way to become a witness to onefs own trauma. The goal of the visual mapping and performative autoethnography, presented in this dissertation, is to dismantle hegemonic, oppressive, and medicalized perceptions of trauma. My autoethnographical and performative research not only analyzes the feminist art pedagogy that prompted trauma art but, also, performs witnessing. Additionally, this research suggests how art educators can utilize feminist art pedagogy to engage trauma subjects to bear witness through art creation by strengthening studentsf subjectivity. Performing visual mapping and performative autoethnography is necessary to analyze shared witnessing, to process trauma without being re-traumatized, and to re-affirm the desire to bear witness in building subjectivity through collective and performative acts. This process is evident in how Kang, Grone, Edwards, and my own experiences in distinct feminist art courses considered trauma as a political concern, formed transferential relations between trauma and non-trauma subjects, and helped us affectively engage with trauma through art.;Due to the lack of understanding of sexual trauma, a hegemonic visual culture that supports sexual violence, and the minimal recognition given to sexual trauma in an educational context, subjects of sexual trauma typically hide their trauma even from themselves because they feel ashamed. By establishing a counter-hegemonic discourse on sexual trauma through the utilization of art creation as bearing witness, both trauma and non-trauma subjects can become witnesses to the process of witnessing.
机译：女权主义艺术教学法可以使性创伤对象通过艺术创作来作见证。性创伤的经历损害了主观感；因此，恢复主观性对于承受创伤的证人至关重要。主观性是个体的生存意识，个体可以据此做出决定并采取行动。通过研究在女权主义艺术教育学背景下的艺术见证人，我的研究揭示了女权主义艺术教育学如何使受害主体能够通过艺术创作经验积极地发现，解释并由此理解他们的创伤；特别是，我研究了女权主义如何艺术教学法使艺术创作成为女权主义艺术课程中创作的四个性创伤主题和三幅创伤艺术品的见证。其中包括前韩国慰安妇姜德京和她的绘画《失窃的纯真》（Stolen Innocence，1995年），该作品是在李庆信和金淑珍的非正式艺术课程中创作的，以帮助幸存的女性生存。联合艺术家凯蒂·格隆（Katie Grone）和约书亚·爱德华兹（Joshua Edwards）等人的团体装置艺术Rape Garage（2001），创作于朱迪·芝加哥（Judy Chicago）和唐纳德·伍德曼（Donald Woodman）的本科课程《在家：西肯塔基大学的肯塔基项目》；以及我自己的表演和装置艺术“荣誉慰安妇”，创作于Karen Keifer-Boyd的研究生艺术课程Judy Chicago PSU：宾夕法尼亚州立大学的艺术，教育学，展览和研究。我将Kang，Grone，Edwards和我本人交织在一起，进行视觉映射和表演性民族志；创建视觉映射和表演性民族志是成为对自己的创伤进行见证的一种方式。本文提出的视觉制图和表演性人种志的目标是消除对创伤的霸权，压迫和医学化认识。我的民族志和表演研究不仅分析了促发创伤艺术的女权主义艺术教学法，而且还进行了见证。此外，这项研究表明艺术教育者如何通过加强学生的主观性来利用女权主义艺术教育学来吸引创伤主体通过艺术创作来作证。进行视觉映射和表演性人种志是分析共享见证，处理创伤而不被再次创伤，并重申通过集体和表演性行为建立主观性的愿望的必要条件。在Kang，Grone，Edwards和我自己在不同的女权主义艺术课程中的经历如何将创伤视为政治问题，在创伤与非创伤主体之间形成转移关系并帮助我们通过艺术有效地参与创伤的过程中，可以明显看出这一过程。由于缺乏对性创伤的理解，支持性暴力的霸权视觉文化以及在教育背景下对性创伤的最低认可，性创伤的受检者通常会感到羞愧，即使对自己也隐藏了创伤。通过利用艺术创作作为见证人，建立关于性创伤的反霸权论述，创伤者和非创伤者都可以成为见证过程的见证人。

著录项

  • 作者

    Kwon, Hyunji.;

  • 作者单位

    The Pennsylvania State University.;

  • 授予单位 The Pennsylvania State University.;
  • 学科 Art education.;Womens studies.;Pedagogy.
  • 学位 Ph.D.
  • 年度 2017
  • 页码 252 p.
  • 总页数 252
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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