当代戏曲中西施形象的两种类型——以越剧《西施断缆》和《西施归越》为分析对象  

Two Types of Xi Shi's Image in Modern Operas——An Illustrative Study of Xi Shi Hacks the CableandXi Shi Returns to Yue State

作　　者：何金梅[1] He Jinmei(College of Yuanpei, Shaoxing University, Shaoxing, Zhejiang 312000)

机构地区：[1]绍兴文理学院元培学院,浙江绍兴312000

出　　处：《绍兴文理学院学报》2017年第2期50-55,共6页Journal of Shaoxing University

基　　金：浙江省社科联课题"中国戏曲中的西施形象的‘层累’建构研究"(2011N15)的相关成果

摘　　要：越剧《西施断缆》和《西施归越》是当代西施戏曲的代表性文本。越剧西施形象呈现出两种基本的性别类型:《西施断缆》中的西施,经历了从反抗到顺从的转变,显示了政治伦理和性别伦理的规训力量,成为践行儒家"忠义"价值观念的英雄,是一个功能性人物;《西施归越》则虚构了一个反抗到底的行动主体性形象,并以死亡为结局,凸显了主体性人物的行动和意义,表现出对女性悲剧性历史命运的清醒认识。前一类形象符合传统的性别认同,后一类形象则表现出对传统性别意识的反思。X/Shi Hacks the Cable and Xi Shi Returns to Yue State are two representative works of modem operas of Xi Shi. There are respectively two basic types of the image of Xi Shi ： The former shows the power of political and gender ethics through the psychological depiction of beauty from resistance to obedience, where Xi Shi has been shaped into a functional hero in the practice of Confucian loyalty; the latter invents a figure of resistance to death, whose revolt highlights the action and meaning of the beauty, and demonstrates a clear understanding of the tragic fate of women. The former is fully justified by the traditional gender values, whereas the latter shows the reflection over the traditional gender conception.

关 键 词：当代戏曲 西施形象 性别 

分 类 号：I207.3[文学—中国文学]