| 摘要: | 清代繁盛的女性創作中，戲曲因其虛擬性、表演性與人物塑造所展現的心理層次，成為最貼近女性的真實自我，筆者以同是清代女作家「擬男」劇作的王筠《繁華夢》、吳藻《喬影》與何佩珠《梨花夢》為研究對象，意圖透過女作家因情而展現於戲劇創作中的自我意識與昇華，抽絲剝繭出女作家藉由「擬男」這樣一個扮裝的手段，折射出當時女性性別意識的進步與侷限意義。本文以「總論－分論－分論－總論」的層次開展出論文主題與深化探討，分就「性別意識」、「擬男背景」、「文本分析」與「性別意識的昇華」四個面向梳理出本論文的研究脈絡。「性別意識」由「性別」的雙重性質，探討到清代女性特殊的自我審視，從而在戲曲上表現出較強烈的女性意識。「擬男背景」從社會文化的觀點，回溯男權社會與女性邊緣性的交互滲透，以及婚戀關係對女性所形成的複雜性與焦慮感交錯下的自我觀照，再到創作時女作家在真實性別與所創作的虛擬人物性別之間，折射出女作家由「女人」到「人」的自我突破過程。「文本分析」以聚焦方式梳理出戲曲中女性的自我突破歷程，以女作家的生平經歷與創作動機為分析劇作的基礎，再分析作者透過劇作中「時間」及「寫影」內涵所呈現的自我詮釋，最後再透過「關鍵事件」和「他者化」的女性形象作為女性自我觀照的態度。「性別意識的昇華」以女男幻變後的情、欲書寫，分析出女性心理欲望的投射，終極自我實現方式顯示出女作家自我認知的強度，最後透過戲曲傳統、觀者反應與戲劇效果三方面評述，以現代眼光回顧，指出劇作的先進意義與不足。最後則希望透過前述章節縱向與橫向的探討，能突破表象的性別解讀，由女性作家戲曲作品的特殊地位及成就，更多著力在女性心理、文化、社會等層面，給勇於爲自己發聲、甚至爲女性同胞發聲的她們應有的地位。 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. |
