從《紅樓夢》的「兼美說」到林奕華的「另一個我」的詮釋轉移－以王熙鳳與小紅為討論對象

The Transition of Interpretation from the ＂Complete Beauty＂ Theory in ＂A Dream of the Red Chamber＂ to Edward Lam's ＂Alter Ego＂-- Taking Wang XiFeng and Xiao Hung as Subjects of Discussion

徐硯美(HSU, YEN-MEI)

《輔大中研所學刊》 39期 (2018/10) Pp. 259-285

摘要

本篇論文從《紅樓夢》的「兼美」一詞起耙梳評論家所提出的「重影說」與歐麗娟教授所引述羅傑士的「替身說」，一直到林奕華所提出的「另一個我」。筆者試圖梳理一條在縱向時間軸上的詮釋轉移，進而解釋此詮釋轉移賦予「小說」到「戲劇」以及「傳統文學」到「現代精神」的意義與價值。王熙鳳與小紅互為「另一個我」的詮釋觀點，既兼具了「重影說」的相似之處的發現與建立，又在橫向意義上，建構起古典小說與現代戲劇，現代戲劇與現代精神的連結，期許能為讀者開展出不同的視野，重新審視古典小說，從而找到當代的意義與價值。

關鍵字

紅樓夢 ； 非常林奕華 ； 兼美說 ； 另一個我 ； 對偶敘事

並列摘要

This paper takes the expression ＂complete beauty＂ from A Dream of the Red Chamber as a starting point and combs through the Double Image theory of critics and Robert Rogers's Double theory quoted by professor Ou Li-Chuan, as well as the ＂alter ego＂ proposed by Edward Lam. The author attempts to analyse a transition of interpretation along a vertical timeline, and further on explain the meaning and value that this interpretation gives to the processes of ＂novel to drama＂ and ＂traditional literature to modern spirit＂. The interpretive perspective of Wang Xifeng and Xiao Hung being mutually ＂alter egos＂ possesses both the discovery and construction of similarities of the Double Image theory while, horizontally, it builds the link between classical novels and modern theatre as well as that binding modern theatre with the modern spirit. The author hopes to unravel a different perspective for the reader to re-examine classical novels in a new light so as to discover in them contemporary meaning and value.

並列關鍵字

The Dream of the Red Chamber ； Edward Lam Dance Theatre ； the Complete Beauty theory ； alter ego ； parallellism narrative