复仇叙事下的女性英雄主义--论刘清韵《飞虹啸》对《聊斋志异·庚娘》的改编  

Female Heroism under the Narrative of Revenge——On Liu Qingyun's Adaptation of Fei Hong Xiao to Geng Niang of Strange Tales from a Lonely Studio

作　　者：吕璐 Lü Lu(School of Literature,Shanxi Normal University,Xi'an 710122,China)

机构地区：[1]陕西师范大学文学院,陕西西安710122

出　　处：《蒲松龄研究》2020年第2期115-124,共10页Study on Pu Songling

摘　　要：《飞虹啸》是清代女作家刘清韵以《聊斋志异·庚娘》为底本进行改编创作的戏曲,其作对清代"聊斋戏"中以宣扬伦理道德为主的创作倾向有所突破。刘清韵在戏曲体制下,扩充了原作的情节并增强叙事时空感,且使人物形象进一步鲜明化以调节戏曲中场次冷热。在延续戏曲抒情传统的基础上,刘清韵又在戏曲架构内将自身的性别意识蕴含其中,藉此流露出女性的主体性和独立自主的意志,与《聊斋志异·庚娘》相比呈现出一些不同之处。Fei Hong Xiao is an opera adapted by Liu Qingyun,a female writer in the Qing dynasty,based on Geng Niang of Strange Tales from a Lonely Studio.Under the system of traditional Chinese opera,Liu Qingyun expanded the plot of the original work,enhanced the narrative sense of time and space,and made the character image more vivid to adjust the cold and hot of the scenes in the drama.On the basis of continuing the lyric tradition of Chinese opera,Liu Qingyun also embodied her own gender consciousness in the framework of Chinese opera to reveal the subjectivity and independent will of women,which presented some differences compared with Geng Niang of Strange Tales from a Lonely Studio.

关 键 词：刘清韵 飞虹啸 聊斋志异 女性意识 

分 类 号：I207.3[文学—中国文学]