去性化的“娜拉”五四新女性形象的論述策略

Desexualized Nora: Strategies on Discoursing Chinese New Woman in May Fourth Period

許慧琦(Hui-Chi Hsu)

《近代中國婦女史研究》 10期 (2002/12) Pp. 59-101

https://doi.org/10.6352/mhwomen.200212.0059

摘要

近代挪威劇作家易卜生(Henrik Ibsen, 1828-1906)的名劇《娜拉》(Et Dukkehjem; A Doll's House; Nora)當中的女主角娜拉，其在近代中國，長期以來被視爲覺醒的新女性形象而聞名。一般著作論及娜拉在中國的發展及其影響時，多半強調其覺醒與出走對中國女性的鼓舞。而娜拉的女性身分，以及她被塑造、乃至定型後的新女性形象，使後人在解讀當時任何有關娜拉的各類文本時，似乎理所當然地對號入座，以爲談到娜拉，就只與女性有關。事實上，初傳入中國的娜拉，究竟是不是爲了中國女性而塑造的？其於五四時代廣受認同的思想脈絡何在？換言之，五四時期掌握文字詮釋權的男性知識份子，究竟是採取什麼樣的策略來論述、形塑、並包裝娜拉這個形象？這些都是仍有待分析的課題。
本文試圖透過當時與後代的各類文本交叉分析，結合歷史背景與文化思潮的發展，追溯娜拉這個形象在五四時期的出現、傳播乃至於盛行，以反思國人建構新女性形象、乃至於論述新女性的本質與問題所在。本文將說明，「娜拉」在中國，是一個去性化(desexualized)了的新女性形象。其基於當時男性知識份子想像與追求現代性的動機而被塑造，雖然對中國女性的離家出走與追求解放產生激勵性作用，但這種廣泛的影響力卻是同樣、甚至更有力地施展於男性身上。從娜拉的例子可得知，這類新女性論述其本質，體現的是男性繼續僭取女性主體論述權的事實。

關鍵字

娜拉 ； 新女性形象 ； 新女性論述 ； 五四時期

並列摘要

Nora, the female protagonist in Norwegian dramatist's play ”Nora” (also Et Dukkehjem and A Doll's House), was well known as an awakening female image in modern China. Works researching the developments of Nora in China emphasized almost exclusively the stimulation of Nora on Chinese women in terms of her behavior of awakening and leaving home. Nora's character as a female and her later fixed image that was made into a New Woman all drove people to explain historical texts concerned with Nora either as if she only represented women, or as if this image was merely related to women. The questions about whether the initial motif for the Nora image-making project was solely for women, what the cultural and intellectual contexts were; in other words, what kind of discursive strategy those May Fourth male intellectuals, who dominated the power of interpretation of letters, adopted in discussing, creating and packaging the image of Nora-all the questions above still wait to be analyzed.
This article tries to trace the initial historical development of the image of Nora in modern China by cross-examination of various kinds of texts written by intellectuals both in the May Fourth and later periods, hoping to probe into the motives of those intellectuals who participated in the image-making discourse, and to reflect upon the fundamental nature of their discourse on Chinese New Woman. I will show that the image of Nora in China is a desexualized image of New Woman. It was created mainly based on the imagination and in search of modernity by male intellectuals; therefore, despite the stimulating effect of this image on Chinese women in their leaving home and pursuing self-liberation, it exerted the same-if not more-influence on men. This article wants to show that, exemplified by the Nora case, the essence of Chinese New Woman's discourses embodied the fact that men continued to assume the power of discoursing on female subjectivity.

並列關鍵字

Nora ； Image of New Woman ； Discourses on New Woman ； May Fourth Period

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