發(fā)布時(shí)間：2018-05-30 05:19

  本文選題：清代 + 閨秀詞�。� 參考：《陜西師范大學(xué)》2015年博士論文

【摘要】：清代女性詞的寫作群體主要構(gòu)成是閨秀,即士紳與文人家庭中的女性。由于近代學(xué)者的批評(píng),閨秀詞長(zhǎng)期被籠罩在“批風(fēng)抹月,拈花弄草”、“傷春惜別之語(yǔ)”的消極評(píng)價(jià)之中。本文旨在從寫作行為與文化的關(guān)系角度入手,就作者身份、創(chuàng)作心理與內(nèi)容表述、意象意蘊(yùn)、理論建構(gòu)等問(wèn)題對(duì)清代閨秀詞進(jìn)行立體的分析和闡釋。第一章,清代閨秀詞人的身份認(rèn)同。從歷史發(fā)展來(lái)看,中國(guó)女性在妻、母之外,無(wú)其他被主流價(jià)值觀認(rèn)可的社會(huì)身份。儒家文化家國(guó)體制同構(gòu)性的特點(diǎn),為維護(hù)社會(huì)秩序的和諧穩(wěn)定對(duì)妻性、母性有一定程度的尊重,加之道家文化對(duì)陰柔價(jià)值肯定的影響,作為良家婦女的閨秀在中國(guó)傳統(tǒng)父權(quán)文化性別等級(jí)中,于一定范圍內(nèi)能夠擁有有限的資源與權(quán)利。漱玉詞的成就和詞的文體傳統(tǒng)提供了閨秀寫作詞的合法性。清代,詩(shī)詞寫作是擁有才女身份的有效路徑,閨秀為獲得作者身份對(duì)性別和文體規(guī)范保持著高度自覺(jué)。杰出的閨秀詞作者往往被視為謫仙,得到社會(huì)扭曲的承認(rèn)。以“才、孝、賢”為主要內(nèi)容的“女有士行”理念本是閨秀精英的理想標(biāo)準(zhǔn),但隨著女教的普及化與世俗化,漸漸成為一般閨秀的行為準(zhǔn)則,催生了閨秀群體的理想主義與道德極端主義傾向。第二章,清代閨秀詞的創(chuàng)作心理與閨情敘述。清代相互矛盾的性別觀念共生共存,反映在文學(xué)實(shí)踐與觀念上,閨秀群體中既有因自甘雌伏、恪守婦德的心理而焚稿之舉,又不乏醉心文學(xué),整日吟詠,手不釋卷之人。接受了一定教育的閨秀也往往依仗道德的高度自律來(lái)爭(zhēng)取地位的提高和更多的尊重。但道德尊重與個(gè)體幸福卻背道而馳,閨秀于此中愈發(fā)體會(huì)到深刻的精神痛苦,這種痛苦幾乎是閨秀群體的集體潛意識(shí)。從宋代開始,自我情感表述就是閨秀詞創(chuàng)作的集體潛動(dòng)機(jī),清代閨秀繼承了這種傳統(tǒng)創(chuàng)作心理,隨著清代閨秀創(chuàng)作群體的擴(kuò)大,詞也具有了唱酬應(yīng)答、聯(lián)絡(luò)情感,以擴(kuò)大社會(huì)空間的創(chuàng)作顯動(dòng)機(jī),并且在閨秀平淡乏味的內(nèi)闈生活里成為填補(bǔ)生命空白的審美游戲。第三章,清代閨秀詞的女性書寫及意象群。封建文學(xué)符號(hào)系統(tǒng)中的女性形象,是男性中心文化中的“空洞能指”,除了形象和外殼之外,女性自身沉默并淹沒(méi)于前符號(hào)、無(wú)符號(hào)的混沌之中。清代閨秀詞以其龐大的創(chuàng)作人數(shù)和作品數(shù)量,在男性寫作的歷史洪流中凸顯出來(lái),傳統(tǒng)詞作中有鮮明情愛(ài)意味的閨房、庭院意象,填充進(jìn)了閨秀現(xiàn)實(shí)生活的情思意蘊(yùn)：閨房與詩(shī)書雅趣、夫妻感情、慈母課子的情感相關(guān)聯(lián),庭院成為閨秀暢想人生、神游古今的空間,出現(xiàn)了主動(dòng)調(diào)節(jié)情緒,對(duì)自己遭際和人間名利等更超脫放達(dá)的情思描繪。清代閨秀詞的菊意象立足于“潔身自好”、“超然閑雅”意蘊(yùn)的文學(xué)傳統(tǒng),生發(fā)出堅(jiān)強(qiáng)、孤芳自賞及弱者自尊的品格映射；水仙成為集外形審美理想與內(nèi)在審美理想為一體的女性化意象。對(duì)于七夕的題詠在清閨秀詞中數(shù)量很多,不僅象征了夫妻團(tuán)圓,更象征了知音相聚。閨秀對(duì)傳說(shuō)中牛郎織女相會(huì)之后漫長(zhǎng)的離別之苦投加更多強(qiáng)調(diào)和關(guān)注,顯示出清閨秀婚姻家庭觀念的理性實(shí)用態(tài)度和真實(shí)訴求。第四章,男性文人論閨秀詞。從清代詞話可以發(fā)現(xiàn),主流詞壇對(duì)女性詞的關(guān)注從贊稱其閨情婉麗開始,逐漸過(guò)渡到包含道德審視的清雅審美,至晚清,則重視其抒寫性靈的真情感發(fā)。詞壇對(duì)女性詞的評(píng)價(jià),從男性立場(chǎng)的予需予取,逐漸發(fā)展到關(guān)注女性詞作者的人生際遇。詞之女性書寫從男性欲望的符號(hào)化位置漸漸掙脫,變艷情展演為自我人生的表述者。主流詞壇對(duì)于女性詞的定位經(jīng)歷了漫長(zhǎng)的時(shí)間,至晚清,終于明確承認(rèn)了女性詞作為抒寫女性生活的文學(xué)載體的相對(duì)獨(dú)立性。第五章,分析閨秀的文本,可以發(fā)現(xiàn)閨秀對(duì)閨秀詞體獨(dú)立性有清晰的認(rèn)識(shí),對(duì)傳統(tǒng)的男性代擬閨情手法有明確的反對(duì)。對(duì)女性詞風(fēng)格以“清”和“溫柔敦厚”作為標(biāo)準(zhǔn),并將“�；垭p修”作為“溫柔敦厚”的一個(gè)內(nèi)容。綜上所論,有清一代,詞寫作已經(jīng)成為閨秀生活方式的一部分,閨秀將之運(yùn)用于個(gè)人及社會(huì)生活的廣泛領(lǐng)域。大量的寫作實(shí)踐,對(duì)詞的傳統(tǒng)意蘊(yùn),尤其是關(guān)于閨秀閨情的書寫意蘊(yùn)產(chǎn)生了顛覆性填充,主流詞壇最終承認(rèn)了閨秀詞作為抒寫女性性情的文學(xué)載體地位,閨秀也試圖并部分地建立了閨秀詞體理論體系。
[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.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2015
【分類號(hào)】：I207.23
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本文編號(hào)：1954076