【作者】 刘堃；

【导师】 乔以钢；

【作者基本信息】 南开大学 ， 中国现当代文学， 2010， 博士

【摘要】 晚清(1840—1911)可以被描述为一个“被全球化”的时代,由于资本主义扩张、帝国主义以及知识和实践的全球流通,中国被“抛入”世界之中并与异质文化频繁接触、对抗和互动。此时国家/民族/个人身份都处在一个根本性的“再构”之中,而晚清的文化产品既是这种“再构”直接和有效的工具,又是其有机组成部分之一。在晚清丰富庞杂的文化产品之中,包括报刊言论、西学译著、通俗文艺、翻译文学等等,存在着一个相当有趣的现象,那就是,无论被塑造为一种似是而非的“旧形象”,还是一种边界未明的新形象,女性都成为一种引人注目的文化再构对象。“女性传统”是内在于中国传统文化的一个不可忽视的部分。儒家思想“家国同构”的逻辑十分重视对家内秩序/两性权力阶序的安排,因此对女性的文化设计与构想自有一套复杂而立体的系统。正是这一“女性传统”在晚清遭遇西方文化冲击后的种种变化,造成了晚清光怪陆离的性别景观,同时也营造了此时中西文化商榷女性形象的广阔对话空间。晚清的男性和女性,在如何参与这“女性传统”的变化并依据其进行道德、生活与文化的种种实践方面,共同构成了一个复杂而又生动有趣的“再构”故事。在晚清这样一个“文化政治”正在兴起的时代里,文学中的女性形象往往不是“女性的”形象,而是民族危机下本土文化与西方对手之间经过紧张的竞争、博弈与协商之后所形成的新“文化形象”的女性化身。晚清文学中的女性形象,大多反映出男性文人/知识分子对于女性“应当如何”的理想规划,而这一规划事实上寄寓着他们对国家富强和现代化的渴望,以及面对西方强势文化的文明焦虑与认同危机。于是,男性对女性传统的再构过程普遍汲取了儒家传统文化、西方现代文化与民族主义思想及其救亡意识这三种思想文化资源。晚清文学的女性形象在身体、道德与文化三个面向上被详细和精确地再构：首先,她们的身体形象经历了一个从“情欲化”到“去情欲化”的国族主义动员过程。女性身体之“莲足”从情欲的物神化符号和文学审美对象沦为国耻的象征与国家富强之罪魁,经过“放足”这一身体改造运动女性身体则不再具有情欲意味。同时,被作为爱国主义“肉弹”而使用的女性身体,在文学作者的叙述中不具备自主情欲的权利,从而使得国家控制、掌握与使用女性身体的绝对权力得以确立。其次,她们的道德形象在传统与西方的多种思想资源之间摇摆,并经历了复杂的熔合与重塑。这一现象与梁启超有关“新民”的道德论述具有同构关系,梁氏正是借助于儒家思想精英主义的“私德”传统与西方“公民”政治思想内涵来建构其“新民”理想的,但在针对女性的理想设计中,他更多强调了传统女德的价值并不惜以解构女性文化权威为代价。在具体的文学形象塑造中,女性的道德/政治主体位置是通过参与革命和自我牺牲而获得的,而女性的道德/文化主体位置则是通过向“传统”一再致敬而保持的,尽管表面上她们披上了西方/现代的外衣。第三,她们的文化形象经历了最为深刻的颠覆和重构。在以梁启超《论女学》为代表的晚清女性教育改革议程中,女性在“文”这一儒家高等文化中积累起来的文化资本被彻底剥夺了,继而成为男性规训与教化的对象。但通过对西方语言与现代知识的驾驭,女性重新获得了文化权威,因为女性的跨文化能力与中国跻身现代国家的可能性直接地联系起来。女性写作的合法性标志,从传统才女“绣余”的作诗演变为“红袖添香对译书”的现代知识行动,而后者的文化内涵被“五四”前后浮现的新文学女性写作者所突破,她们从翻译转回到母语写作,并且不再依赖男性而彰显自己的文化主体性。本论文以上述三条线索为内在逻辑,分为六部分论述：导论部分,介绍本论文的研究对象与范围、基础与目标、思路与方法。第一章论述在晚清这个重要的历史时刻,女性如何以一种特殊的否定方式浮出历史地表——“女”不是被当做与男性相对的、实存的一种性别来讨论,而往往被当做一种衰朽、病态的前现代状态的象征符码来使用。她是中国现代化的对立物和绊脚石,因此必须被声讨、剔除和再造。而改造女性的起点,就是否定前现代女性的身体,即批判“缠足”。西方目光的注视与“天足”概念自西向东的传播在此起到了关键性的作用,而“缠足”内在于其自身起源传说之中的道德危机与其外在于时代的文化危机,才是其衰微的真正原因。与此相对应,解开缠脚布的改良主义女性形象,则意味着中国参与全球种族竞争的勇气和可能性,以及面向女性开放的全新知识空间与行动空间。第二章探讨在晚清女性教育兴起的背景下,男性精英对女性道德与才学的重新界定对建构女性形象的影响。晚清之前的儒家主流文化赋予传统意义上的女性文学才华以道德/政治意义,使得后者在儒家文化的整体格局当中占据了一个既边缘却又稳固的位置。然而,晚清中国的全面危机使得传统“才女”被问题化了,以梁启超为代表的改革者认为以现代学校教育取代传统女性文化是实现国家富强的重要前提之一,而新的女学以国家富强为旨归、以培养“国民之母”为目标、以重新定义的妇德为价值核心。女留学生既是晚清女性教育的现实产物,也是寄托知识分子富强梦想的想象媒介。第三章通过大量精心的文本细读,勾勒出“英雌女杰”这一晚清文学重要的女性形象谱系。在现代女学论述广泛传播的时期,“国民之母”曾一度成为理想女性的代称,它不仅仅意味着种族意义上的优秀基因,更意味着一种被重新诠释过的文化与道德。但随着民族危机的加深,女性的性别角色被推向两极化,即性别化的“国民之母”与去性别化的国家保卫者——“英雌女杰”。无论是本土的“国女”形象,还是来自西方的苏菲亚与罗兰夫人,晚清文本对她们的表现都呈现出某种强调身体、道德与性别角色的特定模式,而“英雌女杰”的本土形象与译介而来的西方形象之间,存在着强烈而深入的互动关系,她们彼此提喻甚至直接参与对方的建构。第四章从“理想妻子”形象角度,梳理了晚清文学延续至五四时期的一个重要情结：“香草美人”传统和“理想妻子”想象是存在于中国文学的典型二元情感投射,文人以理想君王或者理想君臣关系来界定自我,而“理想妻子”则是理想自我的二度模拟。当王权制度趋于解体、“香草美人”传统无所寄托的时刻,文人们种种幽微的自我想象,以及将“自我”扩大化了的理想社会,就通过对“理想妻子”的摹写而表现出来。结语部分对全文进行了总结,归纳了晚清文学女性形象建构的基本模式及其深层的思想文化内涵,并对今后的研究进行了展望。更多还原

【Abstract】 Late Qing Dynasty (1840-1911) can be described as a "globalized age", due to the expansion of capitalism and imperialism and the global flow of knowledge and practice, China had been thrown into the world with different cultures among the frequent contact, confrontation and interaction. At this point, the State/national/ personal identity was entangled in a fundamental and embarrassed "re-structure". In the rich and varied cultural products of Late Qing China, including newspapers and periodicals, Western translations, popular literature, translated literature, etc., there is a very interesting phenomenon, that is, whether shaped as a paradox old image, or a new image of the border were not clear, woman has become a compelling object of cultural re-structure. With "cultural politics" emerging, the women image in the literature of Late Qing China was often not "female image", but a new "cultural image", which was born in the competition and negotiation between the West and local culture. The Late Qing literary image of women, mostly reflecting the male writers/intellectuals’ideal plan for women should be, but this plan was in fact about their desire for prosperity and modernization of the country, as well as their anxiety on civilization and identity crisis when faced a powerful culture of the West. These images were often detailed and re-structured by the physical, moral and cultural paths, and this re-structure absorbed kinds of the ideological and cultural resources, including the traditional Confucian culture, modern Western cultureand the salvation consciousness of nationalism.Female images in the literature of Late Qing China could be detailed and precisely re-structured through physical, ethical and cultural ways:first, their body image underwent a "de-eroticized" nationalism mobilization course, in which the bounding foot became a symbol of national shame instead of the literary aesthetic object. At the same time, being used as patriotic "flesh weapon", the female body in some author’s narrative did not have the right of self-empowering. Secondly, the female’s moral images swung between the different ideological resources of Chinese tradition and western, during which they experienced a complex fusion and remodeling. This phenomenon was related to Liang Qichao’s discuss on "New People" in which Liang mixed the Confucian elitist’s private morality tradition and the western "citizenship" to build his political utopia. However, he further emphasized the value of traditional feminine virtue at the expense of depriving the cultural authority of women. In some specific novels, women who paid tribute to the tradition but meanwhile putting on a western/modern coat obtained moral or political subject position by participation in the revolution and self-sacrifice. Third, the most profound subversion and reconstruction was put on women’cultural image. According to Liang’s paper "On Women", the high cultural capital accumulated by women was completely stripped, so that they were easily delimited an object of discipline and enlightenment by the male elite. However, on the western language and modern knowledge of control, women regained their cultural authority, considering that women’s cross-cultural competence was usually relevant to the possibility of China among the modern state in a direct way. The legitimate form of women’s writing turned from the poem which was created by traditional talented women after their embroidering works to the translation of western books on modern knowledge. The cultural connotation of the latter had a breakthrough during the May-Fourth period, in which the emergence of women writers committed to new literary. Their turned from translation back to writing in mother tongue, by which they demonstrated their own cultural subjectivity and no longer depended on men.In this thesis, the three logical clues above mentioned were presented to four chapters. The first chapter focuses on how women emerged from the historical surface of the Late Qing China in a negative way. At this moment, "female" was not a relative sex to male, but often a decrepit, sick symbol and the metaphor of pre-modern China. "She" was the opposite of China’s modernization and a stumbling block of it, so "She" must be denounced, rejected and recycled. The transformation’s starting point was to deny the pre-modern women’s bodies. Western gaze and the "natural feet" concept spread from west to east played a key role in this moment, while the intrinsic moral crisis and cultural crisis of the era was finally found the real reason for the decline of "foot binding". Correspondingly, the reformist woman image who unlocked the foot-binding cloth means the courage and possibilities that China’s participation in the global race competition, and open space for women in new knowledge and action. The second chapter discusses the impact of elite male and female’s redefinition of women moral or scholarship on the construction of female images with the context of the rise of female education in the late Qing China. By Liang Qichao, modern school education that replaced the traditional women’s culture is an important prerequisite for the country achieving prosperity: to get prosperity as purport, to foster "national mother" as the goal, and to redefine women’s moral as the value of core. The female abroad students as the reality product of women’s education of the late Qing bore the intricate imagination of intellectuals’dream of modernization. ChapterⅢoutlined a "Heroine" portrait pedigree of the late Qing literary by close reading a large number of texts. "The mother of the national" once called the ideal woman, which means more than racial good genes, but also some important re-interpretation on female’s cultural and moral role. But with the national crisis deepening, women’s gender roles were polarized into the gender-based "national mother" and the de-gendered "Heroine". Either the local image of "country woman" or Sophia and Madame Roland from the West, the literature texts about them showed a specific discrimination model that stressed body, morality and gender roles of female. There was a strong interaction between the native image and the western image that they even directly involved in each other’s construction. Chapter IV analyzed a typical female image and an important complex of male elite, that is, "ideal wife". If all women images meaned that their creators were looking forward to an ideal society and a political utopia, then the associated phenomenon had been followed up by the May-Fourth literary imagination of the female students. Concluding section of the paper summed up the basic patterns of female imagination and its deeply cultural connotation in Late Qing literary, and prospected for future research.更多还原