視覺隱喻－試論《花間集》的女性想像

Who is Peeping? The Vision Metaphor -The Female Imagination of Hua Jian Ji

徐禎苓(Chen-Ling Hsu)

《東華中文學報》 6期 (2013/12) Pp. 89-109

摘要

從唐五代的文化層面來說：城市較之過往更為開放，生活也更為豐富。城市人口眾多，信息傳播迅速，民眾消費需求高漲，商貿市場、歌樓酒館等公共場所增多，使得詞能利用城市此一文化空間獲得發展。其中引人注意的是，當時文人詞大量出現女性形象與閨音書寫，皆在《花間集》中，屢屢成為設事特徵與視覺隱喻，被後人視為詞學淵源。尤其，當我們從西方理論視野來參照唐五代詞文學中的文化語境，更可以發現彼時社會文化場域中女性想像或男性意識的形構，除了婦容的追求外，還根植於中國傳統禮教文化的基礎上，藉此以探討視覺文本中隱藏「她」者再現的方式，及表現出來的權力文化意蘊。

關鍵字

《花間集》 ； 視覺文化 ； 女性想像

並列摘要

In terms of the culture aspect of the late Tang and Five Dynasties, the city is more liberal and lives are more rich and colorful. The city had a large population so messages were spread quickly, and the consumption and the need of the public were also step-up promoted market economy and public house raise. Ci (詞) developed in this cultural space. The authors put female images and voice in their writings and the se has become narrative characteristics and visual metaphors in Hua Jian Ji- which is regarded as Ci's origination later. Especially, when we use Western theory to study the cultural texts in the late Tang and Five Dynasties, we can find not only the female appearance but also the male conscious based on the Chinese traditional code in that society. Through above-mentioned, it shows the ways of ＂she＂ reappearance in the visual texts, and the authority for culture.

並列關鍵字

Hua Jian Ji ； visual culture ； female imagination