雌雄同體的文人想像－清初小說《玉樓春》與《醒名花》男性扮裝的敘事意義

Gynandrous imagination of the literary--narrative meaning of man in disguise in two early-Ching novels, Yu Lou Chun and Xing Ming Hua

林偉淑(Wei-shu, Lin)

《興大人文學報》 69期 (2022/09) Pp. 1-35

摘要

清初的世情文本《玉樓春》與《醒名花》的男性扮裝－對於性別的想像與身體的敘事，正是在此一男性女體化的脈絡底下之體現《醒名花》受到《玉樓春》的影響；兩部小說中的男性都被女尼留置於尼庵經年；以及男扮女裝成為才貌雙全的才女，終至得到佳人以身相許。文中表現了明清文人對於女性身體欲望的書寫及想像－所謂完美女性，其實是男性自我的投射，成為才子與佳人合體，但事實上，那是並不存在的理想女性。男性扮裝也指出清初對於男性形體美的不同思考，才、情、貌兼具的美少年成為文人自我的投射。尼庵則成為欲望空間，女尼成了男性對於守貞與欲望想像的對象。本文試著探討兩部文本中的男性扮裝、以及男性被困在尼庵的情節線索，思考底層文人對於女性的書寫態度及對於世情的想像與詮釋。

關鍵字

《玉樓春》 ； 《醒名花》 ； 男性扮裝 ； 身體書寫

並列摘要

Man in disguise in two romantic texts of early Qing Dynasty, Yu Lou Chun and Xing Ming Hua, --an imagination of gender and narrative of body, was exactly the realization of the latter being affected by the former in the context of this changing men into women in terms of body. The men in both novels are detained by nuns in the nunnery for years, and both the disguised men, having achieved excellence in looks and talent, win ideal women's heart- and body too, in the end. The texts present the writing and imagination by the literary in Ming and Qing Dynasties about the desire of woman body- the so-called perfect women were actually men's self-projection into integration of talented man and lady. But, in fact, that is an ideal woman that does not exist. Man in disguise also indicated a different thinking in early Qing about the body beauty of men, where young men of talent, love and good looks became self-projection of the literary. On the other hand, nunneries become a space of desire, and the nuns the object that men imagined about chastity and desire. This article attempts to explore man in disguise and the contextual leads of men being trapped in nunnery to ponder over the attitude of bottom-class literary when writing about women, and their imagination and interpretation of earthly love.

並列關鍵字

Yu Lou Chun ； Xing Ming Hua ； man disguise ； Body writing

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