透過您的圖書館登入
IP:54.147.123.159
  • 期刊

三言二拍中男女扮裝之性別與文化意義

The Gender and Culture Meanings of Cross-dressig in Sanyan & Erhp'ai

摘要


本文擬以,扮裝研究」角度,對晚明文學文本-馮夢龍與友人所編纂的「三言」(《古今小說》、《警世通言》、《醒世恆言》)與凌濛初所著「二拍」(《初刻拍案驚奇》、《二刻拍案驚奇》),進行中國小說文類扮裝研究的觀察,並嘗試以西方豐富的扮裝研究成果作為參考架構,以Kate Millett的「性政治」(Sexual Politics)觀點作為本文的基本立場,再結合符號學理論的運用,期能建立一套適用於中國文學文本的扮裝理論,以解讀「三言」、「二拍」中男女扮裝之性別與文化意義。 本文自「三言」、「二拍」的小說文本中共輯得男女扮裝相關篇章九篇,並經由「道德評判」角度作扮裝類型分析,得出:一、倫理型扮裝;二、自我實踐型扮裝;三、縱欲型扮裝。經由三種類型的分析比較,又清楚呈現出男性編撰者在男女有別的性別文化建制下,再加上「扮裝」機制的弔詭運作。所呈現出來的扮裝書寫更為:男扮女裝而游離於性別角色規範之外;女扮男裝則肩負雙重的文化責任與壓力。明末清初土人所反省、感概的「天地正氣,豈獨偏於女婦?」似乎也隱隱表現在扮裝文本之中,正當明清文人對於性政治下男、女不同規範期待與呈現出來的生鉻價值有了新的界定與反省之時,「扮裝」書寫所啟動的性別越界思考,似乎也讓女性形象有了種種重塑之可能。

關鍵字

三言 二拍 扮裝 性政治 性別研究

並列摘要


In this paper I try to focus on cross-dressing in literary texts in the Late Ming period—Sanyan (三言) edited by Feng, Menglung (馮夢龍) and Erhp’ai (二拍) written by Ling, Mengch’u (凌濛初) . I try to adopt Cross-Dressing research in Gender Studies, Kate Millett’s theory in Sexual Politics and Semiology to discuss the gender and culture implications in cross-dressing. In ancient China, the power structure model based on “male esteem” (Nantsun Nupei 男尊女卑), “male dominance” (Nanchu Nuts’ung男主女從) predominated. Cross-dressing has been considered “loosened” the tight grip of such dominance. The expression of it in forms of perversion of sex role and action, however, still shows opinionated interpretations. By comparing the texts, male and female cross-dressing, one detects different purposes and consequences. In short, male cross-dressing always leads to sexual violation against the female sex; however, female cross-dressing usually leads to variable consequences almost all positive in moral, ethical, and social terms. This leads to conclude that male editors and writers’ writing cross-dressing texts, on the one hand, still copy the real situation between male and female, on the other hand, male editors and writers have created some new “Images of Women” by cross-dressing’s inspiration. After all, “Clothing” is something “outside”, and it is a constructed semiotic system. “Gender” is some kind of “performance”, and it is constructed by culture. It is the human being who is being dressed is the true subject. We’re looking forward to building up some kind of culture having respect for any genders.

並列關鍵字

Sanyan Erhp'ai Cross-dressing Sexual politics Gender studies

被引用紀錄


陳偉達(2010)。晚明男色小說情慾書寫研究〔碩士論文,淡江大學〕。華藝線上圖書館。https://doi.org/10.6846%2fTKU.2010.01291
劉德明(2009)。清朝男色風氣之研究〔碩士論文,淡江大學〕。華藝線上圖書館。https://doi.org/10.6846%2fTKU.2009.00697
蔡宜蓉(2009)。明末清初「女扮男裝」故事研究〔碩士論文,元智大學〕。華藝線上圖書館。https://doi.org/10.6838%2fYZU.2009.00161
林秀嬪(2012)。姻緣故事寶卷研究〔碩士論文,國立臺灣大學〕。華藝線上圖書館。https://doi.org/10.6342%2fNTU.2012.01713
林侖靜(2011)。明清戲曲中「女扮男裝」情節之性別意涵〔碩士論文,國立臺灣大學〕。華藝線上圖書館。https://doi.org/10.6342%2fNTU.2011.02170

延伸閱讀