從越界認同論朱淑真之〈詠史詩〉

A Study of Chu Shu-chen's "Poetry on History" From the Perspective of Gender Transgression

洪英雪

《弘光人文社會學報》 2期 (2005/03) Pp. 121-139

https://doi.org/10.29933/SHSS.200503.0008

摘要

父權體系行之久遠，「男子居外，女子居內」的社會規範與性別分工穩固嚴密。女性總是受限於閨閣之內，寫作、議論國事、評論歷史是男性專屬的權利，因此，當女性提起筆來、並且不寫個人情事、不吟風弄月，而以男性專掌的詠史詩為書寫題材，便是一個值得探討的現象：同樣的詠史題材，男女作家的書寫手法與風格有何異同？女作家於此堪稱為「越界」的創作行為，是否有其意圖？本文便以此為著眼點探討朱淑真詠史詩。文中分三部分分析朱淑真詠史詩與男性詠史詩、女性詠史詩、史書觀點的異同，經由此分析論證朱淑真寫作詠史詩乃是一種以擬仿為手段的越界認同。

並列摘要

The patriarchal system in China has been going on for such a long time that the social norm of ”men work outside, and women stay at home,” as well as division of labor according to gender, are established in a stable and strict sense. Women are always confined in boudoir, and the rights of writing, comments on national affairs, and discussion and criticism of historical events and figures are solely men's rights. Therefore, it is a phenomenon worth discussing when women no longer write personal matters and romantic affairs, and start, on the other hand, writing poetry on history, which according to convention belongs to the domain of men. What is the different style and writing skill between male writers and female writers while writing ”poetry on history”? What is the intention of women's ”crossing” social norms and gender division of labor while writing such genre? This article aims to study Chu Shu-chen's ”poems on history” from the gender perspective to further elucidate the significance of her creative intention. There are three parts in this article in analyzing the differences among Chu Shu-chen's poems on history, male writers' poems on history, poems on history by other female writers, and general views towards history. In the final analysis, the author hopes to demonstrate that Chu Shu-chen's ”poetry on history” is an imitation of a conventional male-dominated genre to achieve an effect of gender transgression.

並列關鍵字

Chu Shu-chen ； poetry on history ； gender transgression ； gender identity