Reading “Gendered Representation”: From the Perspective of Gender Art History

Abstract

  The so-called “flaming” phenomenon that has recently occurred mainly online is often related to gender and representation. Representation is not just a “reflection of the real world” but an “expression of the desire” of the person who created it. However, since there is no compulsory education curriculum to teach about such effects, social recognition of power relations over-representation has not penetrated the general society. The result is the emergence of irreconcilable debates between feminism and anti-feminism over gendered representations and the existence of a third audience that makes up the majority of audiences that do not participate in either.

  In the “Map of the Social Structure of Visual Representation,” there are stakeholders such as “creators,” “recipients,” and “orderers and mediators” who order works in society centering on representation. Both pieces of art and stakeholders exist in society and are in a mutually tense relationship that creates and interprets art. Both have a mutually influential relationship. The desires of the community, creators, and members of society who live in it become represented and the work also plays a role in society’s ideology.

  It is necessary to build a common framework for discussion to advance the stalemate debate, such as efforts to provide society with educational opportunities related to symbolic reading comprehension in a way that encompasses the third audience.