女性割股行为的旌表困境及其突破——以清诗总集《萱圃录》为中心  

The Writing Dilemma and Breakthrough of Female Thighs Cutting——Centered on Xuanpu Lu

作　　者：袁鳞 Yuan Lin

机构地区：[1]苏州科技大学文学院

出　　处：《国学学刊》2022年第4期49-57,140,共10页Research in the Traditions of Chinese Culture

基　　金：国家社会科学青年基金“清前中期西南边疆战争的文学书写研究”(项目编号:22CZW032)的阶段性成果。

摘　　要：安徽新安吴氏在三藩之乱期间割股疗亲,吴嘉纪作《割肉诗为新安汪孝妇赋》一诗以纪之。继首次割股十余年后,吴氏再次割股祭奠亡夫。吴氏之子汪天与凭借其文坛网络,在其母吴氏五十、六十寿辰之际广征时人题咏,编撰为《萱圃录》一书。经由家族内部发起,诗坛同人的广泛参与,吴氏孝、节、慈的女性形象得以形塑。通过分析其中吴嘉纪、屈大均诗作的社会反响,可以感知二人在康熙中后期士林社会中的崇高地位,以及传奇人物与名家文本之间的互动关系。During the San Francisco Rebellion,Wu in Shexian County,Anhui Province cut her thighs to cure relatives,and cut to hesitated to her dead husband more than ten years later.However,this legendary behavior has not been official-praised for a long time due to the controversial nature of cutting herself.Wang Tianyu,a disciple of Wang Shizhen,relied on his social network to solicit chants on the occasion of the 50th and 60th birthdays of his mother Wu,and compiled the book“Xuan Pu Lu”(《萱圃录》).The local family and the poetic elites shaped Wu's female image of filial piety,modesty,and charity,highlighting a strong emotional identity.By analyzing the works and the responses of two well-known poems—Wu Jiaji and Qu Dajun,it is possible to see the echoing relationship that exists between the legendary figures and texts.

关 键 词：割股 《萱圃录》 女性形象 吴嘉纪 屈大均 

分 类 号：I207.22[文学—中国文学] K249[历史地理—历史学]