- 期刊
《牡丹亭》中杜麗娘愛情／情欲／身體自主之探究
The Autonomy of Love /Passion/Body of the Leading Female Character in the Play of ＂Peony Pavilion＂
摘要
湯顯祖寫崑曲「牡丹亭」，讓女主角杜麗娘因為愛慕俊美男子柳夢梅而相思而死亡，又因為這個男子的深情得以還魂。湯顯祖說：我所要寫的不過就是情之為物，可以叫人死、叫人生而已。不過，從人類學的角度來看，這個劇作所呈現的不只是「精誠所至，金石為開」這種浪漫情懷而已。人類學者貝特森（Gregory Bateson）曾經研究過許多文化，他說男人和女人的角色愈分離、對立的文化，性就愈是一種執迷。牡丹亭寫作的時代背景是在距今約400年前的明朝，當時的中國社會嚴守男女有別的規訓，而杜麗娘與柳夢梅首次邂逅是在夢中，並且在這個夢中雲雨成歡，第二次相會時已是一個是人一個是鬼，仍能兩情相悅。劇作家用了夢境及幽冥兩種極致的奇幻意象，來打破男女性別角色及身體情慾的社會規訓。本文所要探討的就是「牡丹亭」劇中女主角杜麗娘，個人如何藉由延伸或改變身體的形式，來超越並對抗社會文化強大的禁錮權力，在不可言說、不可表述、不可欲求之處，突圍而出，極力主張並實踐個人身體及情慾的自主性。
並列摘要
The play ＂Peony Pavilion＂ was written in the Ming Dynasty which was 400 year ago. That was the time when Chinese society strictly observed the rules and regulations between men and women. This research aims to discuss how the female leading character in the play extended or changed body form to resist and surmount the suppression of the authority in the society. They broke through all kinds of disciplines and tried hard to practice individual bodily and the passion autonomy in the situation of could not be said, could not be indicated, and could not be desired.