吾家有女－－明清「女兒」書寫及其展衍

本論文嘗試在既有的「女性」與「婦女」研究基礎上，更突出華人「家」的文化特質，聚焦考察明清「女兒」書寫之中，女兒將然而未然的游移身分狀態，如何透過「離家」、「成家」的歷程對既有倫常秩序產生鬆動與衝擊，同時生發個體自覺的活化契機。隨著明清敘事文學由雅入俗、由異入凡的趨勢，女兒形象在文人筆下愈是開了口、出了聲，有見識、能作為。文人一面借書寫女兒以為自我意識的隱喻，卻又難跳脫「家長」立場下意識予以管束，形成種種或高調宣稱、或立場矛盾、或說辭往復、乃至空闕避談等充滿張力的文脈狀態，透露女兒書寫碰觸關於個／群擺放的文化深層思維關節，隱然促動自覺或不自覺的情／禮權衡新解，虛實共構著「個體自覺」曲折往復的學語歷程。論文第三章與第五章分別根據「緣情」與「懷才」兩大主題，以「馮夢龍的文／白改寫工程」為參照指標，分別考察以「卓文君、崔鶯鶯、蘇小妹、李翠蓮、花木蘭」為代表的女兒書寫在明清敘事文學裡的展衍情況，勾稽「奔女、閨女、才女、巧女、將女」五款女兒典型。探討當女兒的慧眼、情動、詩心、快語、胸懷超乎既有倫常秩序預設，個體如何或義正辭嚴或明裡暗來地設想、行動？而既有秩序又是如何判讀回應？產生哪些防衛？或者嘗試接納、包容多大的「逾矩」的尺度？書中女兒與書寫女兒的文人或聯手或制衡，又為「情」在「禮」中尋得如何形態的破口？論文第二、四、六章相輔相成，共同護持上述五款女兒典型的提出。第二章作為「背景鋪墊」，以女四書、孝／貞難題、列女／賢媛審美交織等議題探討明清以降女教意識湧現的時代場景，導出文人之筆各自取向不同的「離經」反思與「護道」使命，促成「禮教」與「情教」的往復摶化。尤其馮夢龍文／白改寫、直接面向里耳的「情教」標榜策略，開啟諸多女兒書寫的對話現場。第四章提供「中介導引」，析理以女兒為關懷中心的家務糾纏，體察「女兒．家」的連動關係與情思動態，為論文提供更貼近真實生命處境的觀察維度。第六章用以「綜整深化」，首先梳理小說流變，歸結自神女入凡塵而至女兒私奔到魂奔、私訂與「妓」、「俠」概念的關連線索，深化文人個體自覺與女兒個體自覺的連動辯證。接著以「個案研究」方式考察《玉嬌梨》、《平山冷燕》與《好逑傳》三部經典才子佳人小說，著重在女兒「經權成局」的「膽」與「智」的實務策略運用析賞，觀察其間所呈現的大丈夫之志與妾婦之道相得而無妨的女兒姿態。本論文試圖解碼女兒書寫之中所包含的中華文化個體自覺的動力元素，尋索潛藏其間的個體自覺學語姿態，由是提出假說，指陳早在「少年中國」論述之前，已有「女兒」書寫圍繞著「家」的題材，同樣以小說為主要載體，暗暗挑戰了「老年中國」。唯這波行動未曾大張旗鼓，甚至不見得有明確意識，有時情摯動人、有時看似虛矯，或質疑辯證、或高調宣稱、或懇切溝通，目標不見得是決裂式的「叛逆」，而更像是一番值得注意的「向內對話」的自我叩問歷程。

關鍵字

女兒；家；明清敘事；個體自覺；情／禮

並列摘要

This study highlighted the cultural characteristics of the Chinese home based on women’s studies. We focused on the writings of daughters in the Ming and Qing dynasties, examining how daughters’ already-but-not-yet-defined identities impact the existing familial orders through their process of leaving home and getting married and thus enable them to develop self-awareness. Narratives in the Ming and Qing dynasties transitioned from elegance to vulgarity and from extraordinary to ordinary. Following this trend, daughters in literature had their own voice, with an image of being knowledgeable and ambitious. Literati wrote about the characters of daughters as a metaphor of self-consciousness but restrained the characters concurrently from a patriarchal perspective, thus creating contexts that contained numerous tensional elements such as high-profile assertions, conflicting standpoints, swaying words, and even evasive and empty rhetoric. These contexts reveal that the daughter writings reflected the core thinking of individuals and groups in Chinese culture, meanwhile subtly contributing to a new interpretation of balance between affection and etiquette, which the author may be aware or unaware of, and constructing the daughters’ complicated, back-and-forth process of self-awareness both in reality and in literature. Chapters 3 and 5 describe the topics of affection and competence, respectively. Feng Menglong’s rewriting of classical Chinese works into vernacular versions was used as a reference. We examined the presentation of representative daughters, namely Zhuo Wenjun(卓文君), Cui Yingying(崔鶯鶯), Shu Xiaomei(蘇小妹), Li Cuilian(李翠蓮), and Hua Mulan(花木蘭), in the narratives in the Ming and Qing dynasties. They respectively represent five types of daughters: home-leaving, disobedient, talented, outspoken, and commanding. This study explored how daughters planned and acted in just or concealing ways when their intelligence, affections, poetic sentiments, articulateness, and visions exceeded customs, how others interpreted and responded according to customs, what “defense” measures they adopted, and how they accepted or tolerated the daughters’ “misbehavior.” Moreover, the relationship between the characters and authors, who collaborated with or counteracted against each other, was investigated to identify how they seek a new way between affection and etiquettes. The second, fourth, and sixth sections of this research are complementary to each other, supporting the proposed five daughter types. Chapter two illustrates the historical background of the literature in the Ming and Qing dynasties. Through the Four Books for Women (Nu Sishu), dilemmas of filial piety and fidelity, and aesthetics on exemplary women and virtuous ladies, we explored the spatiotemporal backgrounds of the emergence of women’s education in the Ming and Qing dynasties. The backgrounds led to the literati’s diversion from classics or their insistence on protecting the ethical principles in classics, thus forming the conflicts between moral and affection codes. In particular, Feng Menglong’s strategy of rewriting classical works into vernacular versions highlighted the affection codes that catered to the public, pioneering the dialogue between myriad daughter writings. Chapter four presents an intermediary introduction that analyzes the entanglement of family affairs centered on daughters. The relationship between the daughters and their homes as well as the dynamics of their affections was observed to provide a view close to real-life situations. Chapter six summarizes and delves deeper into daughter writing. The flow and transitions in the novels were analyzed. Plots including a deity descending to mortal life and a daughter’s elopement were linked to strengthen the discourse on the linkage and dialectics between the self-awareness of literati and the daughter characters. Case studies on three classics, namely Yu-Jiao-Li（玉嬌梨）, Ping Shan Leng Yan（平山冷燕）, and Haoqiu Zhuan（好逑傳）, were conducted to analyze daughters’ practical strategies of boldness and wisdom under the moral codes of that time, and to present the temperament of the daughters, which is characterized by both men’s ambitious mindset and women’s intelligence and resilience. This study decoded the dynamic elements in self-awareness encompassed in daughter writing in Chinese culture. Identifying the growth of self-awareness hidden within literature, we proposed hypotheses that before the discourse of the Young China (Shaonian Zhongguo 少年中國) by Liang Qichao(梁啟超), some works of daughter writing had focused on the topic of home with novels as the main carrier, challenging the theory of the old China. However, the writing movement never stepped onto the stage nor did it assert or present specific ideas. The works were either emotional and touching or fake and hypocritical, and they sometimes presented dubious debates or sincere communications. The purpose of the works was not necessarily utter rebellion but a self-questioning process of inward conversations that are worthy of attention.