“奇装炫人”:晚清上海妓女的“越界”想象与“性别”表演——以《点石斋画报》图像《花样一新》为核心的考察  

“Stunning Attire”:“Transgressive”Imagination and“Gender”Performance of Late Qing Shanghai Courtesans:A Study Centered on New Styles from Dianshizhai Pictorial

作　　者：刘云 赵锶彤 LIU Yun;ZHAO Sitong(Institute of Literary Studies,Shanghai International Studies University,Shanghai 200083,China)

机构地区：[1]上海外国语大学文学研究院,上海200083

出　　处：《苏州教育学院学报》2025年第2期2-12,共11页Journal of Suzhou College of Education

基　　金：上海外国语大学校级项目(2023TD006)。

摘　　要：晚清上海妓女的“奇装异服”构成了近代独特的文化现象,甚至被时人斥为“服妖”。文章以《点石斋画报》1888年刊登的《花样一新》为切入点,解读当时上海妓女中流行的男装、洋装、旗装、粤装四种“异服”背后潜藏的“越界”想象与尝试,指出“奇装炫人”之风尚,一方面是由于当时上海妓女亟须借此获得更高的关注度与象征资本,另一方面亦反映了她们希望借“换装游戏”创造出新的自我形象与文化身份,以使传统的伦理规范产生部分的松动,进而为自己创造新的行动空间与行动准则。The“eccentric attire”of Shanghai courtesans during the late Qing Dynasty constituted a unique cultural phenomenon of the era,even denounced by contemporaries as“sartorial monstrosities”.Taking the 1888 report New Styles published in Dianshizhai Pictorial as a focal point,this paper decodes the“transgressive”imagination and experimentation embedded in four types of cross-dressing practices among Shanghai courtesans,namely,male attire,Western clothing,Manchu-Qing robes,and Cantonesestyle dress.It argues that on the one hand,the trend of“stunning attire”stemmed from courtesans’urgent need to gain heightened visibility and symbolic capital,and on the other hand,this reflected their desire to craft new self-images and cultural identities through“costume play”.Such practices aimed to loosen traditional ethical norms,thereby creating fresh spaces and codes of agency for themselves.

关 键 词：《点石斋画报》 《花样一新》 妓女 性别 越界 

分 类 号：I206.6[文学—中国文学]