女性文学范式:明清闺秀花卉赋的“突围”  

Female Literature Paradigm:Ladies’“Breakthrough”of Flower Poetic Writing during Ming and Qing Dynasties

作　　者：李卉 LI Hui(School of Literature,Shandong University,Ji’nan 250100,China)

机构地区：[1]山东大学文学院,山东济南250100

出　　处：《南通大学学报（社会科学版）》2023年第1期62-74,共13页Journal of Nantong University:Social Sciences Edition

基　　金：国家社会科学基金重大项目“中国赋学编年史”(17ZDA240)。

摘　　要：“有烟霞想,少脂粉气”的明清闺秀花卉赋写从创作动机上表现出对赋的“讽谏”传统的突破。在具体的花卉描写中,她们以纤细的语言材质在花卉观察中将“自我”代入。赋题所选取的花卉种类之孤寒特质与她们的高洁品质追求相一致,体现出明清女性文学新的思想境界。花卉赋“清慧”美学品貌下的女子才学与雅致心境展示,体现出“诗教”解构的意味。闺秀落花赋与荷花赋在空白、想象、幻化、叠合中实现对闺阁时空的“突围”和男性在花卉文学之“女性书写”中的外貌“凝视”的突围。The flower poetic writing in the form of odes during Ming and Qing Dynasties,which is“dreamy like the hazy clouds with less taste of the boudoir”,shows a breakthrough from the tradition of“satirizing and remonstrating”of this form.In the specific description of flowers,they use delicate language to put the“self”in their flower observation.The solitary and cold characteristics of the flowers selected in the title are consistent with their pursuit of noble quality,which reflects the new ideological realm of women’s literature in the periods.The display of women’s talents and elegant moods displayed in the aesthetic character of“lucidity and wisdom”of flower poetic writing reflects the deconstructive nature of“poetic cravings”.The Boudoir Falling Flowers and Lotus Poetic writing realize the“breakthrough”of boudoir space and time and the male deconstruction of the appearance“gaze”in the flower“female writing”in the blankness,imagination,illusion and superposition.

关 键 词：闺秀 花卉 明清 赋体 突围 

分 类 号：I207.22[文学—中国文学]