伦理身份、斯芬克斯因子与叙事伦理:《牡丹绮情》的文学伦理学解读  

Ethical Identity,Sphinx Factor and Narrative Ethics:An Exploration of Peony in Love from the Perspective of Ethical Literary Criticism

作　　者：杨亚丽[1] 范思环 YANG Yali;FAN Sihuan(College of Arts and Sciences,Northeast Agricultural University,Harbin,Heilongjiang,150030,China)

机构地区：[1]东北农业大学文理学院,黑龙江哈尔滨150030

出　　处：《牡丹江师范学院学报（社会科学版）》2021年第4期41-50,共10页Journal of Mudanjiang Normal University(Social Sciences Edition)

基　　金：黑龙江省社科基金项目(WY2019025-B)。

摘　　要：邝丽莎是华裔美国作家中为数不多热衷于讲述中国故事的。目前学界对邝丽莎作品的研究主要集中在《雪花秘扇》和《上海女孩》这两部作品,鲜有关注她的其他作品。历史小说《牡丹绮情》取材于清代学者吴人三任妻子前后相继合评《牡丹亭》的故事。作品中少女还魂描写带有鲜明中国文化印记,但背后通过伦理案例劝人向善,规范自身行为的伦理内涵更值得深究。独特叙事设计指涉作者凸显女性声音,再现被隐匿的女性写作历史伦理意图。邝丽莎以吴家三妇写作故事追溯明清时期女性写作现象,以小见大。Lisa See is one of the few Chinese-American writers who is passionate about telling Chinese stories.Currently,the study on her works has focused mainly on Snow Flower and the Secret Fan and Shanghai Girls,but little attention has been paid to her other works.Lisa See's historical novel Peony in Love was inspired by the story of the three women commentators of The Peony Pavilion.The depiction of ghost is a part of Chinese culture,but ethical connotation behind it is more worthy of investigation.The novel's narrative reflects its author's ethical inclination to retell the hidden history of women writers.The story shows the"greatness"from the"smallness",with the three wives as examples of women writers in Ming and Qing Dynasties.

关 键 词：邝丽莎 《牡丹绮情》 伦理身份 斯芬克斯因子 叙事伦理 

分 类 号：I106.4[文学—世界文学]