| dc.description.abstract | Among the massive creations by female in Ch’ing-Dynasty, drama became the one that
had exhibited female herself most closely because of its virtual and performing features and
the psychological level through actors’ creation. Writer of the present study adopts Wang
Gin’s Prosperous Dream , Wu Chou’s Disguising Shadow and Ho Pei-Chu’s Pear Flower
Dream as research subjects, the foregoing writers all belong to Ch’ing-Dynasty’s authors in
relation to ”Male-Personification” dramas. She intends to reflect the contemporary
advancement and limited meaning concerning female’s gender consciousness by means of
disguising approach as shown in “Male-Personification” , through the self-consciousness and
promotion implied in a drama as a result of emotional unfolding.
This article starts and deepens its discussion from the sequence of “General Discussion
－Sub Discussion－Sub Discussion－General Discussion” , and focuses on four aspects as
“Sex Consciousness” , ”Male-Personification Background” , ”Article
Analysis”and”Promotion of Sex Consciousness”. “Sex Consciousness” explores the
self-examination of women in Ch’ing-dynasty through the dual natures of ”Gender”, thereby
exhibiting strong female cognition in dramas. From the viewpoint of social culture,
“Male-Personification Background” recalls from the interaction between paternity society and
female position, and through the self-contemplation of female resulting from the complexity
and anxiety in a marriage relationship, to reflect the self-breakthrough process
from”Woman”to”Human”, in the course of composition between the real and virtual persons’
gender. “Article Analysis”focuses on the self-breakthrough process of female in a drama
based on the life experience and creational motive of female author, and analyzes the
self-explanation through the”Time”and”Portrayal”contents in composition. Ultimately, it uses
the female images like＂Key Events＂and＂Others Standpoints＂as the self-contemplation
manners for female. “Promotion of Sex Consciousness”figures out the psychological desires
of female through the description of male’s and female’s emotion and desire after alteration,
thereby showing the self-consciousness intensity of female writer by means of ultimate
self-realization. At last, it points out the advancing meaning and shortcoming of the drama
from the standpoint of modern society, through drama tradition, audience reaction, and
theatrical effect. Finally, it hopes, through horizontal and vertical discussion on the foregoing
chapters and sections, that the surface gender explanation can be broken through, and that the
female position can be enhanced through the particular achievements in drama field of the
female writers who may encourage women to struggle for their own rights and roles that they
deserve, from psychological, cultural, and social aspects.
Key words: male-personification, prosperous dream, disguising shadow, pear flower dream,
female-consciousness.
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