论古代女扮男装题材文学创作的发展及其性别启蒙意义
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摘要
在以男性为主的历史叙述中,女性一直处于失语状态,被遮蔽、被代言。女扮男装题材文学创作的出现和发展反证了中国古代性别制度对女性作为"人"的权利的束缚与压制。此类作品塑造了一群才华出众、挑战性别陈规的女性形象,一方面客观地再现了封建社会"男尊女卑""三从四德"观念下女性真实的社会处境;另一方面体现了以男性作家为主的创作群体对女性处境的同情,对女性才华学识的肯定,凸显了创作者性别意识的觉醒。同时,作品的传播也具有积极的性别启蒙意义。
In the historical narration which mainly focused on the men,women have always been in a state of aphasia and have been concealed and spoken for. The emergence and development of the literary creation of women disguised as men has refuted the restriction and oppression of women having the right of being the human in ancient China's gender system. Those writings have forged a group of talented women who challenge gender stereotypes. On the one hand. It objectively reproduces the real social situation of women in the feudal society that"Men are Superior to Women"and"Women should follow Three Obediences and Four Virtues". On the other hand,it reflects the sympathy of the creative groups,mainly male writers,with the situation of women,the affirmation of women's talent and knowledge,and also highlights the awakening of the gender consciousness of the creators. At the same time,the dissemination of works also has a positive significance to gender enlightenment.
In the historical narration which mainly focused on the men,women have always been in a state of aphasia and have been concealed and spoken for. The emergence and development of the literary creation of women disguised as men has refuted the restriction and oppression of women having the right of being the human in ancient China's gender system. Those writings have forged a group of talented women who challenge gender stereotypes. On the one hand. It objectively reproduces the real social situation of women in the feudal society that"Men are Superior to Women"and"Women should follow Three Obediences and Four Virtues". On the other hand,it reflects the sympathy of the creative groups,mainly male writers,with the situation of women,the affirmation of women's talent and knowledge,and also highlights the awakening of the gender consciousness of the creators. At the same time,the dissemination of works also has a positive significance to gender enlightenment.
引文
[1]黎杨全.“女扮男装”:网络文学中的女权意识及其悖论[J].文艺争鸣,2013,(8).
[2]钟嵘.诗品[M]//何文焕.历代诗话.北京:中华书局,1981.
[3]余嘉锡.世说新语笺疏[M].北京:中华书局,1983.
[4]张雪.木兰故事研究综述与前景展望[J].天中学刊,2018,(4).
[5](唐)李延寿.南史[M].北京:中华书局,1983.
[6]陈东原.中国妇女生活史[M].上海:商务印书馆,1998.
[7]刘丽娟.“女子无才便是德”考述[J].妇女研究论丛,2009,(9).
[8](明)徐渭.四声猿·歌代啸(附)[M].上海:上海古籍出版社,1984.
[9]鲁迅.中国小说史略[M].北京:中华书局,2010.
[10](清)蒲松龄.文白聊斋志异[M].哈尔滨:北方文艺出版社,2013.
[11](明)徐渭.陶宅战归序[M]//徐渭.徐渭集.北京:中华书局,1983.
[12]李贽.焚书注·答以女人学道为见短书[M].北京:社会科学文献出版社,2013.
[13](清)沈复.浮生六记[M].武汉:崇文书局,2015.
[14]侯杰,常春波.对传统时代中国女性生活的深度解析[J].中华女子学院学报,2018,(3).
[2]钟嵘.诗品[M]//何文焕.历代诗话.北京:中华书局,1981.
[3]余嘉锡.世说新语笺疏[M].北京:中华书局,1983.
[4]张雪.木兰故事研究综述与前景展望[J].天中学刊,2018,(4).
[5](唐)李延寿.南史[M].北京:中华书局,1983.
[6]陈东原.中国妇女生活史[M].上海:商务印书馆,1998.
[7]刘丽娟.“女子无才便是德”考述[J].妇女研究论丛,2009,(9).
[8](明)徐渭.四声猿·歌代啸(附)[M].上海:上海古籍出版社,1984.
[9]鲁迅.中国小说史略[M].北京:中华书局,2010.
[10](清)蒲松龄.文白聊斋志异[M].哈尔滨:北方文艺出版社,2013.
[11](明)徐渭.陶宅战归序[M]//徐渭.徐渭集.北京:中华书局,1983.
[12]李贽.焚书注·答以女人学道为见短书[M].北京:社会科学文献出版社,2013.
[13](清)沈复.浮生六记[M].武汉:崇文书局,2015.
[14]侯杰,常春波.对传统时代中国女性生活的深度解析[J].中华女子学院学报,2018,(3).