从“女扮男装”现象看黄梅戏中的女性话语角色  

Discourse Roles of Females in Huangmei Operas——Viewed from the Phenomenon of "Women's Disguising as Men"

作　　者：岳秀文[1] 

机构地区：[1]安庆师范学院文学院,安徽安庆246133

出　　处：《安庆师范学院学报（社会科学版）》2010年第4期71-74,共4页Journal of Anqing Teachers College(Social Science Edition)

基　　金：安徽省哲学社会科学规划项目(AHSK07-08D112)

摘　　要：《柳荫记》《上天台》《三世缘》《解石钟》《孟丽君》等几部记述"女扮男装"故事的黄梅戏,通过语言和非语言手段建构话语角色,塑造了一批敢于走出闺阁争取自由幸福生活的女性形象。"女扮男装"者最终恢复了女儿身,回归家庭,体现出深厚的传统性别文化意识。"女扮男装"故事的大团圆结局,符合平民百姓的审美趣味,反映出黄梅戏的民间性和平民化特点。Huangmei Operas ＂Liu Ying Ji＂,＂Shang Tian Tai＂,＂San Shi Yuan＂,＂Jie Shi Zhong＂,＂Meng Lijun＂,etc.give accounts of the stories of ＂women＇s disguising as men＂.These operas construct the discourse roles by verbal and nonverbal means,and shape the images of a group of women who ventured to go out of their boudoirs to fight for freedom and happy life.Those women disguised as men finally chose to restore as daughters,and returned to their families,which reflects a deep sense of traditional gender culture.These stories of ＂women＇s disguising as men＂ all have happy endings,which is consistent with the aesthetic taste of the civilian population,reflecting Huangmei Operas＇ characteristics of being folk and civilian.

关 键 词：黄梅戏 女扮男装 话语角色 

分 类 号：I236.54[文学—中国文学]