明清江南才女文化与《红楼梦》女性形象塑造研究  

Jiangnan Talented Women Culture in the Ming and Qing Dynasties and the Study of Female Image Shaping in “A dream of Red Mansions”

作　　者：刘展[1] 邬学军[1] 

机构地区：[1]江西科技师范大学文学院,江西南昌330031

出　　处：《江西科技师范大学学报》2016年第1期108-114,共7页Journal of Jiangxi Science & Technology Normal University

基　　金：江西省社会科学课题"明清江南女性文化与<红楼梦>创作研究"阶段性研究成果(课题编号:10WX14)

摘　　要：《红楼梦》的创作,与繁荣的明清江南女性文化尤其是才女文化密不可分。明清江南才女文化构成了《红楼梦》创作的时代背景,对《红楼梦》的女性形象塑造有重要影响。《红楼梦》中的女性都带有鲜明的明清江南才女文化特征。她们对才与美都有着觉醒的追求,是才德美兼备的新型女性;一些女性走出家门,展示出女性生活空间的开拓,却因为才高而遭受着命薄的人生命运;以花神寓意的女性神化形象蕴含着社会对才女早逝的惋惜和敬仰。《红楼梦》女性形象塑造的意义在于其"江南才女"符号更为突出,体现在其形象性和抽象性都超越了其他江南才女形象。the creation of ＂A dream of Red Mansions＂ was inseparable with flourishing Jiangnan women culture, especially with the talented woman culture in the Ming and Qing dynasties. Jiangnan talented Woman culture constituted the age background of creation of ＂A dream of Red Mansions＂, which had an important effect on the female image shaping. The women in ＂A dream of Red Mansions＂ had distinct cultural features of Jiangnan women in the Ming and Qing dynasties. They were the new women of nobility and beauty, awakening to pursue talent and beauty. Some women went out of their houses, developing women living space, but they suffered unfavorable life fate because of their talent. Flower goddess images of women implied people＇s sorrow and admiration for the early death of talented women. Jiangnan talented women＇s sign was more outstanding in ＂A dream of Red Mansions＂, surpassing the other Jiangnan women images in figurativeness and abstraction.

关 键 词：明清 江南才女文化 《红楼梦》女性形象 

分 类 号：I207.411[文学—中国文学]