聊斋异志中时代“造就”的女性悲剧  

The Tragedy of Female "Created" by the Times in "Strange Stories from a Chinese Studio"

作　　者：吴越[1] 

机构地区：[1]浙江工商大学外国语学院,浙江杭州310018

出　　处：《湖北函授大学学报》2017年第4期190-192,共3页

摘　　要：众所周知,蒲松龄在《聊斋异志》一书中,涉及最多的便是男女情爱的描写。在相对较长的一个时期中,不少研究家与评论家都对书中的女性形象及其婚姻观进行研究。研究的关键时期大抵可以分为三个阶段。其中,不少评论家对书中女性的爱情观赞赏有加,尤其是在女性大胆求爱,自由结合这方面。但是,到了对女性形象研究的第三阶段,即九十年代至今,不论是对蒲松龄本人的内心,还是书中的女性形象,都开始产生了不少的质疑之声。介于此,笔者希望从不同的角度切入,同时结合作者心理,对《聊斋志异》中几篇流传度较广的文章进行重新剖析,旨在使读者对《聊斋》中的女性形象有着不同角度的认识,不再只片面趋于"自由"、"进步"层面上理解书中女性,应该认识到当时时代下的女性悲在何处。As we all know, in ＂Strange Stories from a Chinese Studio＂, Pu Songling gave a large description about love story. During a long period of time, many researchers and critics analyzed the female images and their view of marriage. There are three crucial stages of researches with many critics speaking highly of the view of marriage from the females in ＂Strange Stories From a Chinese Studio＂, especially when it comes to females＇ bold courtship and free marriage. The third stage of research, that is, since the nineties, however, the questions of the female images in the book started rising among the researchers. And not only that, even Pu Songling＇ psychology has been taken into consideration. Based on this point of view, I hope to re - analyze the female images in＂ Strange Stories From a Chinese Studio＂ with different angels, also with consideration of author＇s psychology. By starting with the welt - known chapters, this paper wont lay one - sided emphasis on ＂free＂, ＂progressive＂ to analyze the females, but with the expectation that readers can truly realize how hard and miserable the females are at that time.

关 键 词：《聊斋志异》 女性形象 时代悲剧 重新剖析 

分 类 号：I206[文学—中国文学]