女性形象的诞生
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摘要
他者形象是形象学研究的基本对象。这种形象不是他者现实本身，而是形象的塑造者和表现者根据自己的审美体验、价值取向、理解、欲求创造出来的。在此意义上，女性形象决非女性本身，它是经由型塑者的意识过滤后的产物，是呈载着型塑者自身的思想、观念、情感、意志和欲望的混合物。这种形象源于“自我”与“他者”关系的自觉意识之中，是为两性文化“现实间的差距所作的文学的、非文学的且能说明符指关系的”一种语言性表述。而这种对现实的表述决不等于现实，它负载着大量的文化意义，具有强烈的意识形态性。本文拟从形象的塑造出发，从形象学的角度，宏观考察父权文化中的女性形象，分析其产生的深层心理基础和社会文化根源，揭示其中的权力话语关系及其运作机制。在此基础上，提出了面向未来的生态女性建设和两性伦理乌托邦构想。
形象塑造不是对他者现实表象的简单复制，而是一个复杂得多的生产过程，其中形塑者的观看姿态在这一过程中起决定作用，正是观看者所采取的观看姿态如视角、距离、身份、情感态度、先见等，直接影响并决定了形象塑造的不同形态。自有文字记载的历史以来，男性与女性之间基本上表现为二元对立的关系，在主体与客体、塑造者与被塑者、观看者与被看者、再现者与被再现者等对立的双方中，男性永远代表着前者，而女性则永远代表着后者。也就是说，在男人书写的历史中，女人始终是作为绝对的“他者”(the Other)而存在的。各种历史、哲学、文学和其它著作中呈现出来的女性，因表现者自己的观看姿态和情感态度不同而或被美化、理想化或被丑化、妖魔化，由此女性形象往往呈示出两种极端形态：天使与妖妇，圣母与娼妓。但无论哪种形态都不是作为历史存在的真实女性，而是男性欲望投射的结果，是男性的一种文化构想物，一种人为的话语实践。男性用这种虚构的文化上的“他者”来陪衬和确证自身的优越，维护自身的利益。所以，女性形象实际上是男人借以实现自我、确证自我的镜照，是男权主义意识形态建构的具有象征意义的“语言符号”。然而，由于“语言和思想的物化”人们往往以为女性形象就是女性本身，相信对女性的语言性描述就是女性现实。所以，女性形象一旦诞生，便会逐渐成为
一种刻板形象或定型观念，表达了全社会对女性的性别角色期待。在实际生活
中，女性形象借助各种大众传媒常比实际的女性先期地到达人们面前，正是形
象的这种先行性，使得女性形象成功地置换了作为现实存在的女性本身，赢得
了比实际的女性更为优越的地位，并具有了规范、召唤与引领的作用。至于女
性的未来，应是一种“明智的、人道的、生态的”女性未来，应是一种走向“平
等的、自由的、和谐的”伙伴关系的未来。这种未来表达了一种理想:回归女
神，超越“男人/女人”二元论，走向生态女性和两性伦理乌托邦。
The image of the Other is the basic object that the imagology studies. This image is not the realistic self of the other, but the creation that the image creator and describer creates according to their own aesthetic experience, value tropism, understanding, desire and pursuit. In this sense, a female image is not the female herself. It is the product of its creator via the filtering of consciousness, and the mixture that assumes its creator's thoughts, concepts, feelings, wills and desires. This image roots in the consciousness of relation between "the Self and "the Other", and it is used as the linguistic representation that is "literary, non-literary and specifies the index relationship for the realistic differences" between males and females. However, the representation of reality is not the reality itself, but assumes plenty of cultural significance and possesses strong nature of ideology. This thesis, beginning with the creation of image, gives a macro review of the female images in the patriarchy cult
ure from the perspective of imagology, and analyzes its depth-psychological foundation and socio-cultural roots, and then reveals its power-discourse relation and operating mechanism. On the basis of these factors, the thesis puts forward an ecological female construction and a Utopia concept of male-and-female ethic facing the future.
The image creation is not the simple duplication of the realistic presentation of the Other, but a much more complex production process, in which the perspective of the creator play a decisive role. It is the creator's perspective, such as angle of view, distance, identity, emotional attitude, forethought, etc. that directly influence and decide the different shapes of the image creation. Ever since the literate history, the relation between male and female is basically that of the opposite duality. Among the opposite dualities, such as subject and object, creator and the created, observer and the observed, reproducer and the reproduced and so on, male represents forever the former, and female the later. That is to say, in the male-written history, female existence is always absolutely "the Other". The female represented in the works of history, philosophy, literature and other works is beautified, idealized or uglified and demonized because of the creator's different perspectives and emotional attitudes, an
d so the female image
always presents itself in the two extremes: angel and siren,Virgin Mary and prostitute. However, neither is the historically real female. It is the projection of the male desire, a kind of cultural concept conceived by the male and a man-made discourse practice. The male uses this fictitious cultural "the Other" to foil and corroborate their superiority and to defend their interests. Therefore, the female image is actually the mirror of the male's self-realization and self-corroboration and the linguistic symbol constructed by the patriarchic ideology. However, because of the materialization of language and thoughts, people always think that the female image is the female itself and that the linguistic description of the female is the female in reality. Thus, once the female image emerges, it will gradually become a stereotyped image or fixed concept, which expresses the expectation of the whole society for the female as sex role. In reality, the female image, by means of the mass media, always appears befor
e the people ahead of the realistic female, and it is the antecedency of image that enables the female image to replace successfully the female in reality, to win the more superior status than the female in reality and to possess the function of normalization, summon and guidance. As for female future, it should be one that is "wise, humanistic and ecological" , and one that moves towards "equal, free and harmonious" partnership. This kind of future expresses an idea, that is, returning to goddess, transcendence of the male/female duality, and moving towards ecological feminism and the male-and-female ethical Utopia.
形象塑造不是对他者现实表象的简单复制，而是一个复杂得多的生产过程，其中形塑者的观看姿态在这一过程中起决定作用，正是观看者所采取的观看姿态如视角、距离、身份、情感态度、先见等，直接影响并决定了形象塑造的不同形态。自有文字记载的历史以来，男性与女性之间基本上表现为二元对立的关系，在主体与客体、塑造者与被塑者、观看者与被看者、再现者与被再现者等对立的双方中，男性永远代表着前者，而女性则永远代表着后者。也就是说，在男人书写的历史中，女人始终是作为绝对的“他者”(the Other)而存在的。各种历史、哲学、文学和其它著作中呈现出来的女性，因表现者自己的观看姿态和情感态度不同而或被美化、理想化或被丑化、妖魔化，由此女性形象往往呈示出两种极端形态：天使与妖妇，圣母与娼妓。但无论哪种形态都不是作为历史存在的真实女性，而是男性欲望投射的结果，是男性的一种文化构想物，一种人为的话语实践。男性用这种虚构的文化上的“他者”来陪衬和确证自身的优越，维护自身的利益。所以，女性形象实际上是男人借以实现自我、确证自我的镜照，是男权主义意识形态建构的具有象征意义的“语言符号”。然而，由于“语言和思想的物化”人们往往以为女性形象就是女性本身，相信对女性的语言性描述就是女性现实。所以，女性形象一旦诞生，便会逐渐成为
一种刻板形象或定型观念，表达了全社会对女性的性别角色期待。在实际生活
中，女性形象借助各种大众传媒常比实际的女性先期地到达人们面前，正是形
象的这种先行性，使得女性形象成功地置换了作为现实存在的女性本身，赢得
了比实际的女性更为优越的地位，并具有了规范、召唤与引领的作用。至于女
性的未来，应是一种“明智的、人道的、生态的”女性未来，应是一种走向“平
等的、自由的、和谐的”伙伴关系的未来。这种未来表达了一种理想:回归女
神，超越“男人/女人”二元论，走向生态女性和两性伦理乌托邦。
The image of the Other is the basic object that the imagology studies. This image is not the realistic self of the other, but the creation that the image creator and describer creates according to their own aesthetic experience, value tropism, understanding, desire and pursuit. In this sense, a female image is not the female herself. It is the product of its creator via the filtering of consciousness, and the mixture that assumes its creator's thoughts, concepts, feelings, wills and desires. This image roots in the consciousness of relation between "the Self and "the Other", and it is used as the linguistic representation that is "literary, non-literary and specifies the index relationship for the realistic differences" between males and females. However, the representation of reality is not the reality itself, but assumes plenty of cultural significance and possesses strong nature of ideology. This thesis, beginning with the creation of image, gives a macro review of the female images in the patriarchy cult
ure from the perspective of imagology, and analyzes its depth-psychological foundation and socio-cultural roots, and then reveals its power-discourse relation and operating mechanism. On the basis of these factors, the thesis puts forward an ecological female construction and a Utopia concept of male-and-female ethic facing the future.
The image creation is not the simple duplication of the realistic presentation of the Other, but a much more complex production process, in which the perspective of the creator play a decisive role. It is the creator's perspective, such as angle of view, distance, identity, emotional attitude, forethought, etc. that directly influence and decide the different shapes of the image creation. Ever since the literate history, the relation between male and female is basically that of the opposite duality. Among the opposite dualities, such as subject and object, creator and the created, observer and the observed, reproducer and the reproduced and so on, male represents forever the former, and female the later. That is to say, in the male-written history, female existence is always absolutely "the Other". The female represented in the works of history, philosophy, literature and other works is beautified, idealized or uglified and demonized because of the creator's different perspectives and emotional attitudes, an
d so the female image
always presents itself in the two extremes: angel and siren,Virgin Mary and prostitute. However, neither is the historically real female. It is the projection of the male desire, a kind of cultural concept conceived by the male and a man-made discourse practice. The male uses this fictitious cultural "the Other" to foil and corroborate their superiority and to defend their interests. Therefore, the female image is actually the mirror of the male's self-realization and self-corroboration and the linguistic symbol constructed by the patriarchic ideology. However, because of the materialization of language and thoughts, people always think that the female image is the female itself and that the linguistic description of the female is the female in reality. Thus, once the female image emerges, it will gradually become a stereotyped image or fixed concept, which expresses the expectation of the whole society for the female as sex role. In reality, the female image, by means of the mass media, always appears befor
e the people ahead of the realistic female, and it is the antecedency of image that enables the female image to replace successfully the female in reality, to win the more superior status than the female in reality and to possess the function of normalization, summon and guidance. As for female future, it should be one that is "wise, humanistic and ecological" , and one that moves towards "equal, free and harmonious" partnership. This kind of future expresses an idea, that is, returning to goddess, transcendence of the male/female duality, and moving towards ecological feminism and the male-and-female ethical Utopia.
引文
张月：《观看与想像》，郑州大学学报(哲学社会科学版)2002．5(1)(30)
孟华：《比较文学形象学》，北京大学出版社2001年版(2)(3)(29)(48)
[法]西蒙·波伏娃：《第二性》陶铁柱译，中国书籍出版社1999年版(4)(6)(7)(8)(9)(10)(12)(14)(18)(19)(20)(21)(22)(27)(28)(31)(32)(49)
朱立元主编：《当代西方文艺理论》，华东师范大学出版社1999年版(5)(35)(41)
[美]理安·艾斯勒：《圣杯与剑》程志民译，社会科学文献出版社1997年版(11)(54)(55)(56)
弗吉尼亚．伍尔芙：《论小说与小说家》瞿世镜译，上海译文出版社2000年版(13)(26)
[美]凯特·米利特：《性政治》宋文伟译，江苏人民出版社2000年版(15)(23)(24)(25)(44)
孙绍先：《女性主义文学》，辽宁大学出版社1987年版(16)(45)
刘成纪：《欲望与倾向》，河南人民出版社1999年版(17)(40)
[法]吉尔·里波韦兹基《第三类女性》，湖南文艺出版社2000年版(33)(34)
[美]大卫·雷·格里芬：《后现代精神》王成兵译，中央编译出版社1998年版(36)(38)(52)(53)
[美]珍尼特·希伯雷·海登等著《妇女心理学》范志强译，云南人民出版社1987年版(37)
[法]格丽梅勒·格丽尔：《被阉割的女性》杨正润等译，江苏人民出版社1990年版(39)
罗钢、刘象愚：《文化研究读本》，前言，中国社会科学出版社2000年版(42)(43)(46)(47)
罗慧兰：《女性学》，中国国际广播出版社2002年版(50)
徐贲：《走向后现代与后殖民》，中国社会科学出版社1996年版(51)
叶舒宪：《西方文化寻根中的“女神复兴”》(57)(58)
[德]卡尔-曼海姆：《意识形态与乌托邦》商务印书馆2000年版
雅克．德比奇等著：《西方艺术史》，徐庆平译，河南出版社2000年版
罗曼．罗兰：《米开朗琪罗传》(插图珍藏本)傅雷译，三联书店1999年版
杰姆逊：《后现代主义与文化理论》，北京大学出版社1997年版
[美]H·G·布洛克：《美学新解》藤守尧译，辽宁人民出版社1987年版
威勒克、沃伦：《文学理论》刘象愚等译，三联书店1984年版
康正果：《重审风月鉴》辽宁教育出版社1998年版
方刚：《神话中的男女关系》南方日报出版社2000年版
[美]H·R·海斯：《危险的性》孙爱华等译，上海人民出版社1989年版
[美]约翰．奈斯比特等著：《女性大趋势》陈广译，新华出版社1993年版
韦娜：《两性差异》，李永久译，书海出版社1988年版
[英]玛格丽特·穆礼：《女巫与巫术》黄建人译，漓江出版社1992年版
[德]威廉·约能：《男人面对女强人的恐惧》谭艳萍译，漓江出版社2000年版
龚维英：《女神的失落》，河南大学出版社1993年版
西蒙·波伏娃：《第二性——女人》桑竹影等译，湖南人民出版社1988年版
王小波：《沉默的大多数》，中国青年出版社1997年版
孟华：《比较文学形象学》，北京大学出版社2001年版(2)(3)(29)(48)
[法]西蒙·波伏娃：《第二性》陶铁柱译，中国书籍出版社1999年版(4)(6)(7)(8)(9)(10)(12)(14)(18)(19)(20)(21)(22)(27)(28)(31)(32)(49)
朱立元主编：《当代西方文艺理论》，华东师范大学出版社1999年版(5)(35)(41)
[美]理安·艾斯勒：《圣杯与剑》程志民译，社会科学文献出版社1997年版(11)(54)(55)(56)
弗吉尼亚．伍尔芙：《论小说与小说家》瞿世镜译，上海译文出版社2000年版(13)(26)
[美]凯特·米利特：《性政治》宋文伟译，江苏人民出版社2000年版(15)(23)(24)(25)(44)
孙绍先：《女性主义文学》，辽宁大学出版社1987年版(16)(45)
刘成纪：《欲望与倾向》，河南人民出版社1999年版(17)(40)
[法]吉尔·里波韦兹基《第三类女性》，湖南文艺出版社2000年版(33)(34)
[美]大卫·雷·格里芬：《后现代精神》王成兵译，中央编译出版社1998年版(36)(38)(52)(53)
[美]珍尼特·希伯雷·海登等著《妇女心理学》范志强译，云南人民出版社1987年版(37)
[法]格丽梅勒·格丽尔：《被阉割的女性》杨正润等译，江苏人民出版社1990年版(39)
罗钢、刘象愚：《文化研究读本》，前言，中国社会科学出版社2000年版(42)(43)(46)(47)
罗慧兰：《女性学》，中国国际广播出版社2002年版(50)
徐贲：《走向后现代与后殖民》，中国社会科学出版社1996年版(51)
叶舒宪：《西方文化寻根中的“女神复兴”》(57)(58)
[德]卡尔-曼海姆：《意识形态与乌托邦》商务印书馆2000年版
雅克．德比奇等著：《西方艺术史》，徐庆平译，河南出版社2000年版
罗曼．罗兰：《米开朗琪罗传》(插图珍藏本)傅雷译，三联书店1999年版
杰姆逊：《后现代主义与文化理论》，北京大学出版社1997年版
[美]H·G·布洛克：《美学新解》藤守尧译，辽宁人民出版社1987年版
威勒克、沃伦：《文学理论》刘象愚等译，三联书店1984年版
康正果：《重审风月鉴》辽宁教育出版社1998年版
方刚：《神话中的男女关系》南方日报出版社2000年版
[美]H·R·海斯：《危险的性》孙爱华等译，上海人民出版社1989年版
[美]约翰．奈斯比特等著：《女性大趋势》陈广译，新华出版社1993年版
韦娜：《两性差异》，李永久译，书海出版社1988年版
[英]玛格丽特·穆礼：《女巫与巫术》黄建人译，漓江出版社1992年版
[德]威廉·约能：《男人面对女强人的恐惧》谭艳萍译，漓江出版社2000年版
龚维英：《女神的失落》，河南大学出版社1993年版
西蒙·波伏娃：《第二性——女人》桑竹影等译，湖南人民出版社1988年版
王小波：《沉默的大多数》，中国青年出版社1997年版