清代闺秀词研究

发布时间：2018-05-30 05:19

  本文选题：清代 + 闺秀词　； 参考：《陕西师范大学》2015年博士论文

【摘要】：清代女性词的写作群体主要构成是闺秀,即士绅与文人家庭中的女性。由于近代学者的批评,闺秀词长期被笼罩在“批风抹月,拈花弄草”、“伤春惜别之语”的消极评价之中。本文旨在从写作行为与文化的关系角度入手,就作者身份、创作心理与内容表述、意象意蕴、理论建构等问题对清代闺秀词进行立体的分析和阐释。第一章,清代闺秀词人的身份认同。从历史发展来看,中国女性在妻、母之外,无其他被主流价值观认可的社会身份。儒家文化家国体制同构性的特点,为维护社会秩序的和谐稳定对妻性、母性有一定程度的尊重,加之道家文化对阴柔价值肯定的影响,作为良家妇女的闺秀在中国传统父权文化性别等级中,于一定范围内能够拥有有限的资源与权利。漱玉词的成就和词的文体传统提供了闺秀写作词的合法性。清代,诗词写作是拥有才女身份的有效路径,闺秀为获得作者身份对性别和文体规范保持着高度自觉。杰出的闺秀词作者往往被视为谪仙,得到社会扭曲的承认。以“才、孝、贤”为主要内容的“女有士行”理念本是闺秀精英的理想标准,但随着女教的普及化与世俗化,渐渐成为一般闺秀的行为准则,催生了闺秀群体的理想主义与道德极端主义倾向。第二章,清代闺秀词的创作心理与闺情叙述。清代相互矛盾的性别观念共生共存,反映在文学实践与观念上,闺秀群体中既有因自甘雌伏、恪守妇德的心理而焚稿之举,又不乏醉心文学,整日吟咏,手不释卷之人。接受了一定教育的闺秀也往往依仗道德的高度自律来争取地位的提高和更多的尊重。但道德尊重与个体幸福却背道而驰,闺秀于此中愈发体会到深刻的精神痛苦,这种痛苦几乎是闺秀群体的集体潜意识。从宋代开始,自我情感表述就是闺秀词创作的集体潜动机,清代闺秀继承了这种传统创作心理,随着清代闺秀创作群体的扩大,词也具有了唱酬应答、联络情感,以扩大社会空间的创作显动机,并且在闺秀平淡乏味的内闱生活里成为填补生命空白的审美游戏。第三章,清代闺秀词的女性书写及意象群。封建文学符号系统中的女性形象,是男性中心文化中的“空洞能指”,除了形象和外壳之外,女性自身沉默并淹没于前符号、无符号的混沌之中。清代闺秀词以其庞大的创作人数和作品数量,在男性写作的历史洪流中凸显出来,传统词作中有鲜明情爱意味的闺房、庭院意象,填充进了闺秀现实生活的情思意蕴：闺房与诗书雅趣、夫妻感情、慈母课子的情感相关联,庭院成为闺秀畅想人生、神游古今的空间,出现了主动调节情绪,对自己遭际和人间名利等更超脱放达的情思描绘。清代闺秀词的菊意象立足于“洁身自好”、“超然闲雅”意蕴的文学传统,生发出坚强、孤芳自赏及弱者自尊的品格映射；水仙成为集外形审美理想与内在审美理想为一体的女性化意象。对于七夕的题咏在清闺秀词中数量很多,不仅象征了夫妻团圆,更象征了知音相聚。闺秀对传说中牛郎织女相会之后漫长的离别之苦投加更多强调和关注,显示出清闺秀婚姻家庭观念的理性实用态度和真实诉求。第四章,男性文人论闺秀词。从清代词话可以发现,主流词坛对女性词的关注从赞称其闺情婉丽开始,逐渐过渡到包含道德审视的清雅审美,至晚清,则重视其抒写性灵的真情感发。词坛对女性词的评价,从男性立场的予需予取,逐渐发展到关注女性词作者的人生际遇。词之女性书写从男性欲望的符号化位置渐渐挣脱,变艳情展演为自我人生的表述者。主流词坛对于女性词的定位经历了漫长的时间,至晚清,终于明确承认了女性词作为抒写女性生活的文学载体的相对独立性。第五章,分析闺秀的文本,可以发现闺秀对闺秀词体独立性有清晰的认识,对传统的男性代拟闺情手法有明确的反对。对女性词风格以“清”和“温柔敦厚”作为标准,并将“福慧双修”作为“温柔敦厚”的一个内容。综上所论,有清一代,词写作已经成为闺秀生活方式的一部分,闺秀将之运用于个人及社会生活的广泛领域。大量的写作实践,对词的传统意蕴,尤其是关于闺秀闺情的书写意蕴产生了颠覆性填充,主流词坛最终承认了闺秀词作为抒写女性性情的文学载体地位,闺秀也试图并部分地建立了闺秀词体理论体系。
[Abstract]:The writing group of the female words in the Qing Dynasty is mainly composed of the boudoir, that is, the women of the gentry and the literati family. As a result of the criticism of modern scholars, the boudoir words have long been shrouded in the negative evaluation of "the words of the wind and the flowers, the flowers and the grass" and "the language of breaking the spring." this article aims at the author's identity from the angle of the relationship between the writing and the culture. In the first chapter, the identity of the poets in the Qing Dynasty. From the historical point of view, the Chinese women, outside their wives and mothers, have no other social identity recognized by the mainstream values. The characteristics of the homogeneity of the Confucian cultural family system are the characteristics of the homogeneity of the Confucian culture family system. The harmony and stability of social order has a certain degree of respect for wives and mothers, and the influence of Taoist culture on the affirmative value of feminine value. As a good housewife, the boudoir can have limited resources and rights in a certain range of Chinese traditional patriarchal culture. The achievement of gargle and the style tradition of words provide boudoir. In the Qing Dynasty, poetry writing is an effective way to have the identity of a talented woman in the Qing Dynasty. The boudoir maintains a high degree of consciousness for the author's identity. The outstanding boudoir author is often regarded as an immortal and is recognized by the social distortions. The idea of "women's behavior" with "talent, filial piety and virtuous" is the boudoir. The ideal standard of the elite, but with the popularization and secularization of the female teaching, gradually became the norm of the general boudoir, which gave birth to the idealism and moral extremism of the boudoir group. The second chapter, the creation psychology and the boudoir narration of the Qing Dynasty boudoir CI. The coexistence of the conflicting gender concepts in the Qing Dynasty is reflected in the literary practice and view. As a result, the boudoir group has not only the mind of being willing to lie in the womb, but also scrupulously abides by the mentality of the women and morality, and there are no lack of drunk literature, chanting the whole day, and the people who have not been able to do it. From the Song Dynasty, the boudoir of the Qing Dynasty inherited the traditional creative psychology. With the expansion of the creative group in the Qing Dynasty, the words also had the response to the singing, and the emotion was connected. The third chapter is the female writing and image group in the Qing Dynasty boudoir. The female image in the feudal literary symbol system is the "empty signifier" in the male central culture, with the exception of the image and the outer shell. In the Qing Dynasty, the Qing Dynasty boudoir, with its huge number of creative people and the number of works, was highlighted in the history of male writing. In the traditional ci poetry, the boudoir and the image of the courtyard were filled with the love meaning of the true life of the boudoir: the boudoir and the poems and books, the husband and wife. Feelings, the affection of the mother class, the courtyard becomes the boudoir and the life, the ancient and modern space, the initiative to adjust the mood, to their own experience and human fame and other more detached feelings depicted. The Qing Dynasty boudoir image based on the "clean", "aloof and elegant" literary tradition, born out of strong, solitary, solitary. The narcissus is the character mapping of the self appreciation and the weak person's self-respect; the Narcissus becomes a feminine image which integrates the aesthetic ideal of the shape and the inner aesthetic ideal. The number of the title of the Qixi in the Qing boudoir is a lot, not only symbolizing the reunion of the husband and wife, but also symbolizing the meeting of the bosom friend. More emphasis and attention, showing the rational practical attitude and true appeal of the idea of the marriage and family of the boudoir. The fourth chapter, the male literati on the boudoir. From the words of the Qing Dynasty, we can find that the attention of the mainstream word world to the female words begins with the praise of her boudoir, and gradually transition to the elegant and elegant aesthetic which includes Tao de examination, and to the late Qing Dynasty, it pays attention to its writing. The evaluation of the female words in the word world, from the male position, is gradually developed to pay attention to the life experience of the female ci writer. The female writing of the word gradually breaks away from the symbolic position of the male desire, and becomes the expression of the erotic emotion as the expression of the self life. The mainstream word altar has experienced a long time for the female words. In the late Qing Dynasty, the relative independence of women's words as a literary carrier to express women's life was finally clearly recognized. In the fifth chapter, the analysis of the text of the boudoir shows that the boudoir has a clear understanding of the independence of the boudoir and has a clear opposition to the traditional male style of the boudoir. As a standard, "Fu Hui double repair" is a content of "gentle and gentle". In a comprehensive study, the writing of words has become a part of the way of life in the boudoir. The boudoir has used it in a wide range of areas of personal and social life. A large number of writing practices, the traditional meaning of words, especially the books on boudoir boudoir A subversive filling is produced, and the mainstream word world eventually recognised the position of the boudoir as a literary carrier for the expression of female temperament, and the boudoir has also tried and partially established a boudoir theoretical system.
【学位授予单位】：陕西师范大学
【学位级别】：博士
【学位授予年份】：2015
【分类号】：I207.23
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本文编号：1954076