【作者】 刘军华；

【导师】 霍有明；

【作者基本信息】 陕西师范大学 ， 中国古代文学， 2007， 博士

【摘要】 考察明清时代众多的女性文学创作，我们发现明清的女作家们不仅创作了大量的诗、文、词，而且对体式繁杂的散曲、杂剧、传奇、弹词、小说也积极参与创作和评论，而长期以来，对于她们的创作和文学评论是大多数学者们所不关注和重视的，尤其明清女性的戏曲创作是被学术界倍加冷落的，无论是单篇论文还是学术专著都少的可怜，女性戏曲作品乏人问津，既往的很多戏曲研究者也只有徐扶明先生、叶长海先生、王永宽先生、陆萼庭先生等少数学者对有些明清女性戏曲作家的生平做了相关的考证；一些学者对叶小纨、吴藻等个别女性戏曲作家进行了个案研究。但是在很长的一段历史时期里，很多明清女性戏曲作品都是处于被埋没、贬低甚或误读的状况中，而当我们站在21世纪的今天，在重新整理、考证明清女性戏曲创作的同时，应该用冷静而客观的态度审视明清女性戏曲创作的真实面貌，分析明清女性戏曲创作中所呈现的思想意蕴与戏曲表现方式，及其对中国戏曲传统的继承与开拓，以此给她们在中国戏曲史上客观的定位和评价。为此，本论文试图以女性的视角和女性的经验，在整理和考证明清女性戏曲文本的基础上，细读明清女性戏曲作品中所表达的女性作家自身的真实创作目的和女性的情感与理想，去倾听、还原和展示湮灭于历史记忆中的明清女剧作家们鲜活的个体生命和多姿多彩的创作风貌，把那些真正属于女性创作的主题、意向和叙述方式凸现出来。论文第一章首先审视了明清女性作家戏曲创作的历史文化背景，分析了明清女性戏曲创作兴起的历史文化因缘。明清女性面对着社会“言须得体”的规范，其内心“恐伤大雅”的焦虑、复杂的曲学与音律知识的掌握，在吟咏性情而“不得恣意直言”的表达困境中创作戏曲必然十分困难。但是，明清一些女性在通晓音律、开通的家庭教育、亲戚师友的切磋、蓬勃的戏曲活动、文人士大夫的广泛参与、剧本的普遍流传等因素影响下，亦孜孜不倦地加入了戏曲创作的行列。论文第二章主要进行了基础性的明清女性作家戏曲文本的整理与考证研究。笔者通过对全国主要图书馆、相关地方志、有关专家的相关戏曲书目论著的检索、查询和考证，得知明清女性戏曲创作者有26人，现著录戏曲有65种，其中杂剧14种，传奇51种。现存戏曲文本有24种，其中杂剧7种，传奇15种，残存2种传奇。从笔者目前文献的整理和考证来看，女性的戏曲创作最早可考者是从晚明万历年间金陵名妓马湘兰开始的，一直到晚清光绪年间闺秀刘清韵与刘氏，明清女性戏曲家们为后人留下了可贵的文化遗产。论文第三章通过对现存明清女性作家戏曲文本的阅读和审视，认为，明清女性作家戏曲创作在题材的选择上主要继承传统的戏曲表现内容，但明清的女戏曲家们却用与男性不同的女性视角，躲在虚构的戏曲人物背后真实而深切的表达了女性自身的情感欲望、生存境遇、价值追求、人生理想，以及时代女性内在精神的深沉焦虑与无奈，完全没有男性剧作家笔下女性人物的积极热情、主动大胆的情感表现，女性人物对她们的人生前景是非常悲观的，剧作更突出表现和考虑的是女性自我价值实现的追求与性别、婚姻、家庭或宿命间所蕴涵之各种冲突，这其中与传统伦理意识形态的对话与质疑，不仅透视出明清女性真实的生存现状，而且具有呈现时代的思想演变，阐释女权解放历程的意义。论文第四章主要分析明清女性作家戏曲创作在戏曲传统艺术表现上的继承与突破。明清女剧作家们延续了明清以抒情为主流的戏曲传统，但在戏曲叙事的架构内却以其自身扮演之行动主体作为其抒情叙事的主要表现形式，不注重表现人物之间的戏剧冲突，而多利用舞台空间的虚拟转化，以舞台独白的方式来推动剧情，构建曲折有致的情节结构。此外明清女剧作家在沿用梦、画、仙等舞台意象之男性戏曲创作传统时，也并不仅止于蹈袭，而从女性视角出发，呈现了此类舞台意象不同于男性的表现内涵和审美理想。论文第五章评论了明清女性作家戏曲文本中普遍存在的戏曲人物女扮男装的现象。女扮男装是明清戏曲创作之重要艺术传统之一，而明清女剧作家们在刻画剧中主角时，人物亦男亦女的身份刻意突破了传统的性别定位和束缚，在张扬自我才情的同时，力求探询女性实践自我的途径，甚至如吴藻的《乔影》更传达出女性与男性文学传统对话，并期望为中国历代才女寻找文学传统内定位的欲望与意图，这与男性剧作家同类题材有着完全不同的内涵。也使人们从不同的角度质疑、反思男女性别的定见以及女性角色的社会规范，从而具有“颠覆与重构”社会性别、文化之意义。论文第六章专题性评论了占据现存明清女性作家戏曲文本一半的多产女戏曲家刘清韵。其剧作真实再现了晚清女性在社会动荡与个人内在压抑的双重缝隙间的思想与情感追求，女性在传统与现代思潮之间的徘徊与彷徨。总之，明清女性作家戏曲创作不仅在数量上是可观的，而且女戏曲家们以女性的视角和表现方式，为我们真实再现了明清女性的生命历程和现实生存状态，表达了女性的创作态度与创作目的，尤其是不同于男剧作家的对女性形象的细腻、深切的呈现，应在中国戏曲史上占有一席之地。同时，明清女性戏曲文本为我们提供的这个聆听女性真实生命情感之心曲的重要平台，对中国妇女史的研究同样具有重要价值意义。更多还原

【Abstract】 During Ming and Qing Dynasties era of female literature studying, we found a woman who not only created a lot of Ming and Qing Dynasty poems, the text Words, but Style complexity of the genre, drama, legend, storytelling, the novel also actively involved in creative and comments .But Opera is the creation of the Ming and Qing women in the academic extremely cold, either alone or scholarly writing papers are woefully inadequate, lack of women’s Drama. Many researchers have only opera Xu Fuming, Mr Wang Yongkuan, E-ting, a handful of mainland scholars on the life of some of the Ming and Qing female opera writers do the relevant research. Some scholars, such as Ye- Xiaowan, wuzao white female opera writer for the individual case studies. However, in a very long historical period, many female operatic works of theMing and Qing Dynasties of being buried, Misunderstanding or belittle the circumstances. When we stand on the 21st century today, and re-determine the Ming and Qing female opera creativity, calm and objective attitude should look at the true face of the Ming and Qing dynasties, operas, Analysis of the Ming and Qing dynasties, which emerged from the creative thinking of opera and opera performance Meaning, and the right to inherit and develop traditional Chinese opera, Chinese opera in the history of this to their positioning and objective. To this end, this paper attempts to women’s perspectives and experiences of women, female operatic version of the collation and verification on the basis of the Ming and Qing Dynasties, so that Women who are really creative theme and narrative form intent crime.First, in Chapter 1 , female opera creative thesis examined the historical and cultural background of the Ming and Qing Dynasties, Theatrical Creation of the Ming and Qing dynasties, the rise of historical and cultural fate.In Chapter 2, The main thesis for the basic texts of the Ming and Qing Dynasties female opera finishing with textual research. With the country’s main library, related to the Chronicles, experts in the relevant bibliography on with the opera search inquiries and research, the women learned the Ming and Qing Opera artist at 26, with 65 species recorded opera, drama, 14. Legend 51. 24 existing opera, Opera 7, Legends 15, the remnants of the two legends. From my current literature review and research, women’s operas from the late Ming is the first to be ascertained Ma-Xianglan, until the late Qing dynasty, with Ms. Liu-qingyun. Ming and Qing female dramatists have left a precious heritage for future generations.In Chapter 3,Papers on the existing text to read and look at the Ming and Qing female opera that, Opera in the Ming and Qing dynasties, the choice of the main themes of the opera performance in carrying forward the tradition, But family members of the Ming and Qing Dynasties female opera with women and men have different perspectives, women express their feelings, survival, the pursuit of value. , as well as the female spirit of anxiety and helplessness. Female characters are very pessimistic about the prospects for their life. Drama is considered more prominent female performance and the pursuit of self-worth and achieving gender, marriage, Contained in the family or fatalism among the various conflicts, including the dialogue with the traditional ideology and ethics questioned Ming and Qing women not only perceive the true survival situation, but it has the ideological evolution of the times and explain the significance of women’s emancipation.In Chapter 4,This paper analyzes the Ming and Qing dynasties, the performance of traditional operas in the opera’s artistic inheritance and breakthroughs. Ming Ming and Qing female playwright who continue to Lyric Opera of the mainstream tradition, But in the narrative framework of opera performance figures do not pay attention to the dramatic conflict and the use of the stage space into virtual, Monologue to the stage to advance the plot. Also used in the Ming and Qing female playwright dream paintings cents male imagery and other stage traditional operas, from the perspective of women.tage show of such images from the male connotation of performance and aesthetic ideals.In Chapter 5,Commenting on the paper version of the Ming and Qing dynasties, the deportment of a man and came to the opera phenomenon. Ming operas disguises herself as a men so important artistic tradition, and the play depicts in the Ming and Qing female playwright protagonist, break the shackles of traditional gender roles and the self-publicity horn at the same time, strive to explore ways of self-female practice, This male playwright with similar themes have completely different connotations. It also questioned from different angles, to reflect on the role of female gender stereotypes and social norms, so with "subversion and Reconstruction" Gender and cultural significance. In Chapter 6, Commenting on the existing thematic essays occupy half of the most prolific female version of the Ming and Qing Dynasties female operatic dramatists Liu -Qingyun. Real plays its women in the late Qing to suppress social unrest andrsonal inner thoughts and feelings between the cracks double pursuit. Women wandering between the traditional and modern ideas and hesitant.In short, the Ming and Qing dynasties, Opera is impressive not only in terms of quantity, but women feel feminine perspective and opera performance, Ming reappearance of our true history and the reality of survival in the lives of women. women’s creative approach and creative expression, especially from male to female image of the playwright’s fine, the deepest expression of a place in the history ofhinese opera. Meanwhile, the Ming and Qing dynasties, for the opera version of the real feelings of women listened important platform. Chinese women is of great value for research into the history of the same significance.更多还原