论《聊斋俚曲》中的女性形象及蒲松龄的女性观——从《聊斋志异》说起  

On the Female Images in Liaozhai Liqu and Pu Songling's View of Women: An Exploration Based on Liaozhai Zhiyi

作　　者：沈媛媛 刘晓静[2] SHEN Yuanyuan;LIU Xiaojing

机构地区：[1]山东大学艺术学院,山东济南250100 [2]山东艺术学院音乐学院,山东济南250300

出　　处：《济南大学学报(社会科学版)》2025年第2期79-86,190,共9页Journal of University of Jinan:Social Science Edition

基　　金：国家社会科学基金艺术学重点项目“明清俗曲古谱辑释与机器辅助译疏”(项目编号:23AD008);山东省社会科学规划研究重点项目“二十世纪四十年代北平《华北日报·俗文学》周刊文献整理研究”(项目编号:22BWYJ05)。

摘　　要：从《聊斋志异》到民间俚曲创作,蒲松龄笔下女性形象发生了本质性的变化,从“被欣赏与知己”的位置,转向了家庭场域中的“实用”教化位置,这缘于蒲松龄晚年文艺创作思维的转型,以及俚曲欣赏对象的变化。通过对这些女性形象的深入解读,可以窥探清代乡村女性的生活图景,以及她们与伦理道德、社会风俗之间的微妙互动。《聊斋俚曲》中的女性书写呈现出向传统道德体系妥协的倾向,其对贤良孝妇的符号化塑造,既显现出儒家伦理的强势回归,又在性别秩序与人性诉求的张力中,暴露出蒲松龄女性观的双重性。From the tales in Liaozhai Zhiyi to the vulgar songs in Liaozhai Liqu,due to the changes in narrative space and the target audience for appreciation,the female images and their aesthetic implications have also undergone corresponding transformations.Pu Songling shifted the artistic space for creating vulgar songs from the realm of fantasy to reality and accomplished the transformation and"reshaping"of female images therein.The artistic expression of these songs is based on the imitation of ancient elements or the appropriate addition of story details to enable the appreciation of the connotations of vulgar songs.By analyzing the female images in Liaozhai Liqu,we can discern Pu Songling's"symbolic"advocacy of virtuous and filial women.We can also observe his contradictory view of women within the happy-ending scenarios of fairies being promoted,as well as his dialectical view of women under the theme of"curing jealousy and punishing cruelty".

关 键 词：聊斋俚曲 女性形象 女性观 

分 类 号：I207.37[文学—中国文学]