鸳鸯意象与性别置换:叶小纨《鸳鸯梦》解读
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摘要
叶小纨及其作品《鸳鸯梦》的出现与传世,填补了中国戏剧史上女性书写创作戏曲的空白。为了进一步解读《鸳鸯梦》,通过对现有文献资料的调查整理,结合文本内容以求更深入地对《鸳鸯梦》中以"鸳鸯"为题眼的创作意图进行合理的分析,指出剧中表层借"鸳鸯"表达的兄弟情谊,深层则抒发了叶小纨对逝去姐妹强烈追思和哀痛。同时依托前人关于女性戏曲中性别置换的研究,将叶小纨的生平经历与作品内容进行合理的联想,以此探究叶小纨在"鸳鸯"意象下体现的性别置换,指出作品中人物内外核身份形象的置换、外化的兄弟情谊与内化的姐妹情谊的转换实际上是一种"隐形"的性别置换。
The appearance and handing down of Ye Xiaowan and her work "The Nightmare"filled the blank of women creative drama in the history of Chinese drama. In order to further interpret the "the dream of mandarin duck",through the investigation and collation of existing literature materials,combined with the text content in order to make a more in-depth analysis of the creative intentions of "mandarin duck"in the "the dream of mandarin duck"as the title of the eye. He pointed out that the brotherhood of the surface in the play was expressed through the "mandarin duck",and deep in the story expresses Ye Xiaowan's strong memory and sorrowfor the passing sisters. At the same time,relying on the ancients' research on the gender transition of women in operas,we rationalized the life experience of Ye Xiaowan with the works. This explores the gender transformation embodied in Ye Xiaowan' s image under the "mandarin duck"image and points out that the conversion of the inside and outside of the characters and the image of the identity,the externalized brotherhood and the transformation of the internalized sisterhood are actually "invisible"gender conversion.
The appearance and handing down of Ye Xiaowan and her work "The Nightmare"filled the blank of women creative drama in the history of Chinese drama. In order to further interpret the "the dream of mandarin duck",through the investigation and collation of existing literature materials,combined with the text content in order to make a more in-depth analysis of the creative intentions of "mandarin duck"in the "the dream of mandarin duck"as the title of the eye. He pointed out that the brotherhood of the surface in the play was expressed through the "mandarin duck",and deep in the story expresses Ye Xiaowan's strong memory and sorrowfor the passing sisters. At the same time,relying on the ancients' research on the gender transition of women in operas,we rationalized the life experience of Ye Xiaowan with the works. This explores the gender transformation embodied in Ye Xiaowan' s image under the "mandarin duck"image and points out that the conversion of the inside and outside of the characters and the image of the identity,the externalized brotherhood and the transformation of the internalized sisterhood are actually "invisible"gender conversion.
引文
[1]华玮.明清妇女戏曲集[M].台北:中央研究院中国文哲研究所古籍整理丛刊,2003:3-26.
[2]韩宝江.千种风情与“鸟”说——论古代爱情诗词中的鸟意象[J].重庆科技学院学报,2009(11):126-129.
[3]中国社会科学院语言研究所词典编辑室.现代汉语词典:第二版[K].北京:北京商务印书馆,1983:1419.
[4]隋丽.浅谈冯大中古体诗的诗“情”画“意”[J].沈阳工程学院学报:社会科学版,2018(1):14-16.
[5]毛亨.毛诗著疏[M].上海:上海古籍出版社,2013:309.
[6]陈子展.诗经直解[M].上海:复旦大学出版社,1983:785.
[7]吴在庆.鸡鸣诗解读[J].古典文学知识·名作赏析,2011(5):19-22.
[8]萧统.文选[M].李善,注.上海:上海古籍出版社,1986:637.
[9]钱谦益.列朝诗集小传·闺集[M].上海:上海古籍出版社,1983:755.
[10]中国地方志集成·江苏府县志辑[M].南京:江苏古籍出版社,1991:170.
[11]叶绍袁.午梦堂集[M].冀勤辑,校.北京:中华书局,1998:278.
[12]苏湘云.晚明吴江分湖叶氏家族文学研究[D].西安:陕西师范大学,2012:49.
[13]马小明.叶小鸾的婚姻悲剧[J].文艺·古典品藻,2014(3):72-75.
[14]严敦易.元明清戏曲论集[M].郑州:中州书画社,1982:303.
[15]华玮.明清妇女剧作中之“拟男”表现与性别问题——论《鸳鸯梦》《繁华梦》《乔影》与《梨花梦》[C]//中研院中国文哲研究所筹备处.明清戏曲国际研讨会论文集:下,1998:573.
[16]徐扶明.明清女剧作家和作品初探[M].杭州:浙江古籍出版社,1986:271.
[17]唐昱.明清“易性乔装”剧兴盛之因缘[J].中央戏剧学院学报,2006(2):40-47.
[2]韩宝江.千种风情与“鸟”说——论古代爱情诗词中的鸟意象[J].重庆科技学院学报,2009(11):126-129.
[3]中国社会科学院语言研究所词典编辑室.现代汉语词典:第二版[K].北京:北京商务印书馆,1983:1419.
[4]隋丽.浅谈冯大中古体诗的诗“情”画“意”[J].沈阳工程学院学报:社会科学版,2018(1):14-16.
[5]毛亨.毛诗著疏[M].上海:上海古籍出版社,2013:309.
[6]陈子展.诗经直解[M].上海:复旦大学出版社,1983:785.
[7]吴在庆.鸡鸣诗解读[J].古典文学知识·名作赏析,2011(5):19-22.
[8]萧统.文选[M].李善,注.上海:上海古籍出版社,1986:637.
[9]钱谦益.列朝诗集小传·闺集[M].上海:上海古籍出版社,1983:755.
[10]中国地方志集成·江苏府县志辑[M].南京:江苏古籍出版社,1991:170.
[11]叶绍袁.午梦堂集[M].冀勤辑,校.北京:中华书局,1998:278.
[12]苏湘云.晚明吴江分湖叶氏家族文学研究[D].西安:陕西师范大学,2012:49.
[13]马小明.叶小鸾的婚姻悲剧[J].文艺·古典品藻,2014(3):72-75.
[14]严敦易.元明清戏曲论集[M].郑州:中州书画社,1982:303.
[15]华玮.明清妇女剧作中之“拟男”表现与性别问题——论《鸳鸯梦》《繁华梦》《乔影》与《梨花梦》[C]//中研院中国文哲研究所筹备处.明清戏曲国际研讨会论文集:下,1998:573.
[16]徐扶明.明清女剧作家和作品初探[M].杭州:浙江古籍出版社,1986:271.
[17]唐昱.明清“易性乔装”剧兴盛之因缘[J].中央戏剧学院学报,2006(2):40-47.