女性主义视阈中的宫体文学浅析
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摘要
本文主要包括以下三部分的内容。
引文部分介绍了宫体诗产生的历史背景,宫体诗、宫体文学的概念；宫体文学在文学史上的地位及研究现状；提出用历史的辩证的研究方法来探讨宫体文学与女性主义发展的关系,并指出本文着重探讨和解决的几个问题。
第一章阐述两汉魏晋南北朝是中国历史上一个由盛转衰、由治而乱的过程。经历了这个从高峰到低谷、从统一到分裂的过程的士人内心是一个充满矛盾与冲突的过程。方面是渴望着象西汉大一统帝国时那样建功立业,一方面是现实的黑暗与恐怖。存身尚且不易,谈何报国立功?经历了一次次的流血事件之后,士人们渐渐从政治报负中转身,将自己的志向理想寄托于山水美人之间。宫体文学便恰如其时地充当了该寄托的载体角色。另外,男性对有所埋怨、有所期待等题材的作品创作量之大,说明了男性作者对这类题材的偏好和思维的定势。男性作家创作大量的闺怨诗,是他们潜意识中的政治情结在起作用。男性闺怨诗滥觞于屈原,是屈原首次将男性无法排解的政治情结化而为闺怨之词!由于屈原和楚辞在中国文学史上的重要地位,千百年来,在中国士人的心理结构中积淀下来,成为一种自觉地效仿和不自觉的投射。其实,正统的“诗言志”主题并没有被完全消解,只是随着时代环境的变化,经过一朝一代的流血牺牲,士人暂时将志向和报负压抑到潜意识层面,但潜意识的股股暗流总在涌动,并不自觉地通过别的方式投射出来。这个时代,正像一个幽寂的大闺房。大丈夫囿于闺房,遥想前贤驰骋疆场、建功立业的豪情壮举,那个时代,不正是一个“远行者”吗?没有海阔天空的时代氛围,只能寄言这样的时代早点到来。宗悫有句“乘长风,破万里浪”,这也代表了那个时代士人的心态。可想而知,一旦外部环境允许,志向和抱负不需要再被压抑的时候,这些东西便会马上浮到意识层面来,并且如百舸争流、万马奔腾,不可遏抑!
第二章揭示了宫体文学在对身边女性或理想中女性身体、容貌的直白的刻画中,隐含着男性以自我为中心,对女性的不恭和亵玩。在封建男权社会,普通女性以男性的审美取向为标准,在自身外在容貌的修饰、服装的装饰及言谈举止等方面极力迎合男性,甚至包括内在个人情感亦是如此,要温柔、要善良、要节俭、要任劳任怨……,以博取男性更多的关注和恩宠。社会性别理论认为生理的差异不影响性别的建构，真正对性别划分起作用的是文化的规范,女性在社会性别体系下一直处于从属地位,是被压迫者。普通女性对当时不平等的两性关系处于混沌未觉醒时代没有抗议,扮演的是心甘情愿的淑女、贤妻良母等角色。而杰出女性面对男权社会的现状,一是自怨自艾、自怜自惜,于是闺怨、思妇成为那个时代女性之作永恒的主题；二是站在男性立场上为女性作茧自缚,导致更多的女性在两重枷锁中肩负更加沉重的社会性别压力。杰出女性在性别问题上的倡导是整个女性的悲哀!女性被控制的地位更加难以改变。
第三章阐明在宫体文学的写作中,作者从女性心理特征出发,采用“闲庭”、“幽阶”等空间意象,以映照闺阁佳人的幽怨心理和落寞愁怀；通过扇、烛、镜等时间意象刻画出佳人常怀有的流年似水、红颜易老、色衰见弃、爱情破灭的悲伤心理；又通过“鸟虫”、“草木”等意象来隐喻种种心理和情思。这些意象的截取,反映了作者对女性心理和生存状态的深刻把握!结语部分阐明南朝宫体诗作者在这个时代的大闺房里咬文嚼字、吟风弄月了一百五十余载的时候,他们翘首以待的那个时代终于到来了。不久,隋唐大一统帝国的建立,士人们迎来了他们翘首以待的春天,他们急不可待的跨出内闱,跨入社会。而女性主义也得到了空前发展,尤其是武则天时代,女性主义乃至女权主义的发展达到了一个可以说是巅峰的状态!同时,中国文学这支巨轮,也在港湾内搁浅了百年之后,带着它的给养(蕴含在宫体诗中的艺术技巧)随着政治的大一统的潮流又一次启碇远航了!
The paper is composed of five sections, including preface, three body parts and conclusion.
Preface includes the connotation and denotation of Gongti Poem, the creation of Yu Tai Xin Yong and the concept of Gongti literature, the importance and present study of Gongti literature in literature history, the approach with the combination of historical and logical method to the study of the creation and depression of Gongti. literature, and in a feminism view on Gongti literature. Finally, the paper presents the focus of the research.
The first chapter presents the process of the prime to the depression and the stability to the ferment during the period of two Han Dynasties, Wei, Jin and Northern and Southern Dynasty. The period saw the spiritual conflicts of the scholars who witnessed the process of the prosperity and the depression, the united nation and the split. They longed for the devotion to the empire as in West Han dynasty, only to face the terror and ruin in reality. It's not easy to survive, let alone contribute to their empire. Seeing the series of bloody incidents, the scholars'mentality gradually faded away from the political ambition, seeking in landscapes or in depiction of women. Therefore, Gongti literature is created by the frustrated scholars. The beauty of grievance in voluminous poems written by male writers reflects their political complex subconsciously. Qu Yuan, the founder to poems of grievance, transferred the political complex, which for them is hard to relieve, into such poems. Owing to the importance of Qu Yuan and Chuci in Chinese literature over thousand years, the accumulation in scholars' mentality reflects it consciously and subconsciously. In fact, the traditional poems to express the scholars'ambition were not split up, but to spring up in another way for generations as time passed by. Meeting no opportunities saddened the sufferings of scholars. That time is like a boudoir. Men were in boudoir to miss the achievement of their ancestors. They were only trippers without vast unrestrained and far-ranging atmosphere, just to seek themselves into longing for the coming times. Zong Que's remarks "riding the wind to split up the waves" represent the mood of those scholars. Apparently, the admission of external environment results in relieving of their ambition.
The second chapter expounds the depiction of the ideal women's figures, appearances, which indicates the chauvinism and dishonor to women. At those days, the women readers were acknowledged and curried favor with the chauvinism by admitting the depiction of women's clothing and appearance, and their soul and morality. The theories to sexes put forward that the physical difference has no great effect on the structure of sexes, while the real function on sexes is the norm of culture. Women have ever played a subordinate role in the system of sexes, and they are the oppressed. The women readers had no disagreement to those social norms, being subjected to those social norms and the slaves to men. The women readers, the elite of women, traced three ways under the rule of the chauvinism. One way was to hum their sufferings year after year, so that mental sufferings and longing for meeting with their husbands were the themes of the women literature. Second,female behave theirselves conforming to men's standard, resulting in feeling more social pressure upon female.Women elite blind to the sex discrimination is the tragedy of the whole feminine world, which makes it more difficult to change the oppressed position of women.
The third chapter advances the mental sufferings of the talented women by using the spatial images in Gongti literature from the angle of women's psychological characteristics, by using time images of fans, candles and mirrors to depict their sadness, by using metaphor, namely, the images of birds and insects and plants to depict their mentality and emotional state. The utilization of images are embodied with the writers'understanding of the women's psychology and the being state. The volume of Gongti literature in men's writings reflects the bias and stereotypes to such themes.
The conclusion suggests Gongti literature in Southern dynasty found its very. time coming after one-hundred-year nit-pick on words. Later on, the founding of Sui and Tang dynasties saw the scholars meeting their third spring following the Warring Period and the Western Han dynasty to encourage them to go out of the boudoir and enter the outside. Meanwhile, the great wheel of Chinese literature, stranding for tens of years in the harbor, began to sail with flourish of the political unification. Very soon, it reached its prime in the summit of Chinese ancient literature by Li Bai and Du Fu's appearance. No wonder Li Bai narrated, "There should be a time when, cutting waves favored by a breeze,. One can, under full sail, embark for the wide, open seas." as the response to the remarks of Zong Que, which is like the dialogue between the two dynasties.
引文部分介绍了宫体诗产生的历史背景,宫体诗、宫体文学的概念；宫体文学在文学史上的地位及研究现状；提出用历史的辩证的研究方法来探讨宫体文学与女性主义发展的关系,并指出本文着重探讨和解决的几个问题。
第一章阐述两汉魏晋南北朝是中国历史上一个由盛转衰、由治而乱的过程。经历了这个从高峰到低谷、从统一到分裂的过程的士人内心是一个充满矛盾与冲突的过程。方面是渴望着象西汉大一统帝国时那样建功立业,一方面是现实的黑暗与恐怖。存身尚且不易,谈何报国立功?经历了一次次的流血事件之后,士人们渐渐从政治报负中转身,将自己的志向理想寄托于山水美人之间。宫体文学便恰如其时地充当了该寄托的载体角色。另外,男性对有所埋怨、有所期待等题材的作品创作量之大,说明了男性作者对这类题材的偏好和思维的定势。男性作家创作大量的闺怨诗,是他们潜意识中的政治情结在起作用。男性闺怨诗滥觞于屈原,是屈原首次将男性无法排解的政治情结化而为闺怨之词!由于屈原和楚辞在中国文学史上的重要地位,千百年来,在中国士人的心理结构中积淀下来,成为一种自觉地效仿和不自觉的投射。其实,正统的“诗言志”主题并没有被完全消解,只是随着时代环境的变化,经过一朝一代的流血牺牲,士人暂时将志向和报负压抑到潜意识层面,但潜意识的股股暗流总在涌动,并不自觉地通过别的方式投射出来。这个时代,正像一个幽寂的大闺房。大丈夫囿于闺房,遥想前贤驰骋疆场、建功立业的豪情壮举,那个时代,不正是一个“远行者”吗?没有海阔天空的时代氛围,只能寄言这样的时代早点到来。宗悫有句“乘长风,破万里浪”,这也代表了那个时代士人的心态。可想而知,一旦外部环境允许,志向和抱负不需要再被压抑的时候,这些东西便会马上浮到意识层面来,并且如百舸争流、万马奔腾,不可遏抑!
第二章揭示了宫体文学在对身边女性或理想中女性身体、容貌的直白的刻画中,隐含着男性以自我为中心,对女性的不恭和亵玩。在封建男权社会,普通女性以男性的审美取向为标准,在自身外在容貌的修饰、服装的装饰及言谈举止等方面极力迎合男性,甚至包括内在个人情感亦是如此,要温柔、要善良、要节俭、要任劳任怨……,以博取男性更多的关注和恩宠。社会性别理论认为生理的差异不影响性别的建构，真正对性别划分起作用的是文化的规范,女性在社会性别体系下一直处于从属地位,是被压迫者。普通女性对当时不平等的两性关系处于混沌未觉醒时代没有抗议,扮演的是心甘情愿的淑女、贤妻良母等角色。而杰出女性面对男权社会的现状,一是自怨自艾、自怜自惜,于是闺怨、思妇成为那个时代女性之作永恒的主题；二是站在男性立场上为女性作茧自缚,导致更多的女性在两重枷锁中肩负更加沉重的社会性别压力。杰出女性在性别问题上的倡导是整个女性的悲哀!女性被控制的地位更加难以改变。
第三章阐明在宫体文学的写作中,作者从女性心理特征出发,采用“闲庭”、“幽阶”等空间意象,以映照闺阁佳人的幽怨心理和落寞愁怀；通过扇、烛、镜等时间意象刻画出佳人常怀有的流年似水、红颜易老、色衰见弃、爱情破灭的悲伤心理；又通过“鸟虫”、“草木”等意象来隐喻种种心理和情思。这些意象的截取,反映了作者对女性心理和生存状态的深刻把握!结语部分阐明南朝宫体诗作者在这个时代的大闺房里咬文嚼字、吟风弄月了一百五十余载的时候,他们翘首以待的那个时代终于到来了。不久,隋唐大一统帝国的建立,士人们迎来了他们翘首以待的春天,他们急不可待的跨出内闱,跨入社会。而女性主义也得到了空前发展,尤其是武则天时代,女性主义乃至女权主义的发展达到了一个可以说是巅峰的状态!同时,中国文学这支巨轮,也在港湾内搁浅了百年之后,带着它的给养(蕴含在宫体诗中的艺术技巧)随着政治的大一统的潮流又一次启碇远航了!
The paper is composed of five sections, including preface, three body parts and conclusion.
Preface includes the connotation and denotation of Gongti Poem, the creation of Yu Tai Xin Yong and the concept of Gongti literature, the importance and present study of Gongti literature in literature history, the approach with the combination of historical and logical method to the study of the creation and depression of Gongti. literature, and in a feminism view on Gongti literature. Finally, the paper presents the focus of the research.
The first chapter presents the process of the prime to the depression and the stability to the ferment during the period of two Han Dynasties, Wei, Jin and Northern and Southern Dynasty. The period saw the spiritual conflicts of the scholars who witnessed the process of the prosperity and the depression, the united nation and the split. They longed for the devotion to the empire as in West Han dynasty, only to face the terror and ruin in reality. It's not easy to survive, let alone contribute to their empire. Seeing the series of bloody incidents, the scholars'mentality gradually faded away from the political ambition, seeking in landscapes or in depiction of women. Therefore, Gongti literature is created by the frustrated scholars. The beauty of grievance in voluminous poems written by male writers reflects their political complex subconsciously. Qu Yuan, the founder to poems of grievance, transferred the political complex, which for them is hard to relieve, into such poems. Owing to the importance of Qu Yuan and Chuci in Chinese literature over thousand years, the accumulation in scholars' mentality reflects it consciously and subconsciously. In fact, the traditional poems to express the scholars'ambition were not split up, but to spring up in another way for generations as time passed by. Meeting no opportunities saddened the sufferings of scholars. That time is like a boudoir. Men were in boudoir to miss the achievement of their ancestors. They were only trippers without vast unrestrained and far-ranging atmosphere, just to seek themselves into longing for the coming times. Zong Que's remarks "riding the wind to split up the waves" represent the mood of those scholars. Apparently, the admission of external environment results in relieving of their ambition.
The second chapter expounds the depiction of the ideal women's figures, appearances, which indicates the chauvinism and dishonor to women. At those days, the women readers were acknowledged and curried favor with the chauvinism by admitting the depiction of women's clothing and appearance, and their soul and morality. The theories to sexes put forward that the physical difference has no great effect on the structure of sexes, while the real function on sexes is the norm of culture. Women have ever played a subordinate role in the system of sexes, and they are the oppressed. The women readers had no disagreement to those social norms, being subjected to those social norms and the slaves to men. The women readers, the elite of women, traced three ways under the rule of the chauvinism. One way was to hum their sufferings year after year, so that mental sufferings and longing for meeting with their husbands were the themes of the women literature. Second,female behave theirselves conforming to men's standard, resulting in feeling more social pressure upon female.Women elite blind to the sex discrimination is the tragedy of the whole feminine world, which makes it more difficult to change the oppressed position of women.
The third chapter advances the mental sufferings of the talented women by using the spatial images in Gongti literature from the angle of women's psychological characteristics, by using time images of fans, candles and mirrors to depict their sadness, by using metaphor, namely, the images of birds and insects and plants to depict their mentality and emotional state. The utilization of images are embodied with the writers'understanding of the women's psychology and the being state. The volume of Gongti literature in men's writings reflects the bias and stereotypes to such themes.
The conclusion suggests Gongti literature in Southern dynasty found its very. time coming after one-hundred-year nit-pick on words. Later on, the founding of Sui and Tang dynasties saw the scholars meeting their third spring following the Warring Period and the Western Han dynasty to encourage them to go out of the boudoir and enter the outside. Meanwhile, the great wheel of Chinese literature, stranding for tens of years in the harbor, began to sail with flourish of the political unification. Very soon, it reached its prime in the summit of Chinese ancient literature by Li Bai and Du Fu's appearance. No wonder Li Bai narrated, "There should be a time when, cutting waves favored by a breeze,. One can, under full sail, embark for the wide, open seas." as the response to the remarks of Zong Que, which is like the dialogue between the two dynasties.
引文
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[2][宋]郭茂倩编撰.乐府诗集[M].北京：中华书局,1979.
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[26]沈奕斐.被建构的女性[M].上海：上海人民出版社,2005.
[27]骆晓戈.女性学[M].长沙：湖南大学出版社,2004.
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①沈德潜：《古诗源》.中华书局.1963年.第153页
②[陈]徐陵编,[清]吴兆宜注,程琰删补,穆克宏点校.玉台新咏笺注[M].北京：中华书局,1985.第539页.
③沈奕斐：《被建构的女性》.上海人民出版社.2005年.上海.第86页.
④[德]西美尔：《性别问题中的相对和绝对》.见《金钱、性别、现代生活风格》,第174页.
⑤ Virginia Woolf,Women and Writing,New York:A Harvest Book,1980,p.59.
⑥转引自陆道夫：《英美女权主义批评的诗学贡献》,载《广西民族学院学报》1996年第3期,第66页.
⑦转引自沈奕裴：《被建构的女性》.上海人民出版社.2005年.扉页
⑧[美]凯特·米利特：《性政治》,江苏人民出版社2000年版,第33页。
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⑥转引自陆道夫：《英美女权主义批评的诗学贡献》,载《广西民族学院学报》1996年第3期,第66页.
⑦转引自沈奕裴：《被建构的女性》.上海人民出版社.2005年.扉页
⑧[美]凯特·米利特：《性政治》,江苏人民出版社2000年版,第33页。