阅读的位置——由宋代女性作家作品自传体解读而引发的思考
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摘要
南宋之后,评论家公认女性作家的文学作品一定是写自己的事、抒自己的情。传统的自传体解读产生原因主要体现在两个方面:一是男性的主体思维的介入,伴随着阅读过程的偷窥心理;二是大众传播的影响。当摆脱自传体解读的传统思维时,作为纯粹作者的女性作家通过女性独特的视角和情感角度,借助高超的写作技巧创造的是属于她们自己的个性写作。在写作过程中,女性作家建构自身形象的同时,也遵照传统价值观表达自我意识。
Since the Southern Song Dynasty, it was unanimously recognized by the critics that female writers were assumed to write about their own emotions and life experiences in their literary works. Why were female works read in that way? There were two main reasons that might explain this reading phenomenon: men's dominant position in writing and reading, which might lead to the voyeuristic reading pattern, and the impact of mass media. When they were unbound by the traditional way of thinking for the interpretation of autobiographical works, the female writers as pure readers created their own individual writings from unique female and emotional angles and by means of super writing technique. In the process of writing, the female writers created their own images and simultaneously expressed their own self-awareness according to the traditional values.
Since the Southern Song Dynasty, it was unanimously recognized by the critics that female writers were assumed to write about their own emotions and life experiences in their literary works. Why were female works read in that way? There were two main reasons that might explain this reading phenomenon: men's dominant position in writing and reading, which might lead to the voyeuristic reading pattern, and the impact of mass media. When they were unbound by the traditional way of thinking for the interpretation of autobiographical works, the female writers as pure readers created their own individual writings from unique female and emotional angles and by means of super writing technique. In the process of writing, the female writers created their own images and simultaneously expressed their own self-awareness according to the traditional values.
引文
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[4] 陈祖美.李清照词新释辑评[M].北京:中国书店,2003:57.
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[6] 苏者聪.中国历代妇女作品选[M].上海:上海古籍出版社,1987:205.
[7] (美)Carol Gilligan.不同的语音:心理学理论与女性的发展[M].王雅各,译.台北:台北出版社,2002:11.
[8] (奥)弗洛伊德:性学三论[M].纽约:基础读物出版社,1975:186.
[9] (美)伊沛霞.内闱:宋代妇女的婚姻和生活[M].胡志宏,译.南京:江苏人民出版社,2010:38.
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[14] (美)艾朗诺.才女之累:李清照及其接受史[M].上海:上海古籍出版社,2017:23-29.
[15] (明)陈继儒.太平清话[M].北京:中华书局,1985:53-54.
[16] 张宏生.经典确立与创作建构——明清女词人与李清照[J].中华文史论丛,2007(4):279-366.
[17] (明)郦琥.姑苏新刻彤管遗编[M].北京:北京出版社,2000:283.
[18] (加)方秀洁.论词的性别化——她的形象与口吻[C]//词学.上海:华东师范大学出版社,2003:82-108.
[19] 孙康宜.晚唐迄北宋词体演进与词人风格[M].北京:北京大学出版社,2004:172.
[20] (美)高彦颐.闺塾师:明末清初江南的才女文化[M].李志生,译.南京:江苏人民出版社,2005:4.
[21] 仪礼[M].郑州:中州古籍出版社,2017:84.
[22] (法)西蒙娜·德·波伏娃.第二性[M].北京:中国书籍出版社,1998:784.
[23] 李清照.投翰林学士綦崈礼启[M]//李清照诗词文存.台北:台湾商务印书馆,1992:170.
[2] 王仲闻.李清照集校注[M].北京:人民文学出版社,1997:178.
[3] 唐圭璋.全宋词[M].北京:中华书局,1965.
[4] 陈祖美.李清照词新释辑评[M].北京:中国书店,2003:57.
[5] 陈贻焮.增订注释全唐诗:第3卷[M].北京:文化艺术出版社,2001:601.
[6] 苏者聪.中国历代妇女作品选[M].上海:上海古籍出版社,1987:205.
[7] (美)Carol Gilligan.不同的语音:心理学理论与女性的发展[M].王雅各,译.台北:台北出版社,2002:11.
[8] (奥)弗洛伊德:性学三论[M].纽约:基础读物出版社,1975:186.
[9] (美)伊沛霞.内闱:宋代妇女的婚姻和生活[M].胡志宏,译.南京:江苏人民出版社,2010:38.
[10] 戴锦华.犹在镜中——戴锦华访谈录[M].北京:知识出版社,1999:204.
[11] 乔以纲.中国当代女性文学的文化探析[M].北京:北京大学出版社,2006:60.
[12] (明)周清原.西湖二集[M].上海:上海古籍出版社,1990:155.
[13] (明)梦觉道人.三刻拍案惊奇[M].上海:上海古籍出版社,1990:79-80.
[14] (美)艾朗诺.才女之累:李清照及其接受史[M].上海:上海古籍出版社,2017:23-29.
[15] (明)陈继儒.太平清话[M].北京:中华书局,1985:53-54.
[16] 张宏生.经典确立与创作建构——明清女词人与李清照[J].中华文史论丛,2007(4):279-366.
[17] (明)郦琥.姑苏新刻彤管遗编[M].北京:北京出版社,2000:283.
[18] (加)方秀洁.论词的性别化——她的形象与口吻[C]//词学.上海:华东师范大学出版社,2003:82-108.
[19] 孙康宜.晚唐迄北宋词体演进与词人风格[M].北京:北京大学出版社,2004:172.
[20] (美)高彦颐.闺塾师:明末清初江南的才女文化[M].李志生,译.南京:江苏人民出版社,2005:4.
[21] 仪礼[M].郑州:中州古籍出版社,2017:84.
[22] (法)西蒙娜·德·波伏娃.第二性[M].北京:中国书籍出版社,1998:784.
[23] 李清照.投翰林学士綦崈礼启[M]//李清照诗词文存.台北:台湾商务印书馆,1992:170.