【作者】 吴松梅；

【导师】 高文汉；

【作者基本信息】 山东大学 ， 比较文学与世界文学， 2009， 博士

【副题名】以女性形象为中心

【摘要】 《源氏物语》问世于11世纪初,作为日本最具代表性的古典文学作品之一,常被誉为“日本的《红楼梦》”。作者紫式部出身于没落贵族家庭。她所处的时代,正是上层贵族通过与皇室联姻不断蚕食皇权的摄关时代,所以作者的个人经历以及贵族择偶时对对方门第的重视等特征都反映在了《源氏物语》中,而女性的婚恋背后往往伴随着一部家族的兴衰史。在现有的关于《源氏物语》的家族、门第的研究中,绝大部分都着眼于作品中男性的门第观念,从男性人物入手考察他们对于先祖遗愿的践行、门第的维护等等,而从女性人物的角度出发系统研究其家族意识的成果非常少,仅有一些散见于人物论中的关于单一人物身份意识的叙述,而这些无论是深度还是广度都是远远不够的。在作者生活的摄关时代,贵族的婚姻形态与居住形态决定了女性与父系家族的紧密关系。女性的婚姻基本取决于娘家的门第、财力;女性婚后大多住在娘家,生活用度主要靠娘家供给;生下的孩子由娘家抚养教育;女性死后葬入父族墓地。这就是说,女性的命运及其生活方式在很大程度上取决于父族的门第。同时,女性在父系家族中也扮演着各种重要角色,直接反映了父族的门第观念与家风。因此,结合当时的婚姻习俗和文化背景,由《源氏物语》的女性形象出发,系统考察、深入分析《源氏物语》的家族意识是可行的,也是必要的。本论拟以《源氏物语》的女性形象为研究对象,参照摄关时代的社会现状与婚姻形态,就相关材料进行梳理分析,以期厘清作者在《源氏物语》中试图由女性形象传达的家族意识,进而达到更好地理解这部小说内涵的目的。论文共分四章,分别从女性与摄关家族的荣耀,女性与家族复兴,没落贵族女性及其家族观念,没落亲王家的女性及其门第观念等四个方面加以探讨。在第一章“女性与摄关家族的荣耀”中,主要考察弘徽殿女御、葵姬、胧月夜等三名女性在左、右大臣两大家族中起到的作用。弘徽殿女御作为右大臣家的长女,在桐壶帝尚为东宫太子时就已入宫,并为桐壶帝生下大皇子,为右大臣一家实现“摄关政治”的梦想起到了关键作用。在这一过程中,弘徽殿女御展现出比父亲更加卓越的政治才能。她辅佐儿子登上皇位并成为朱雀朝的实际掌权人。为了家族的长久荣华,她尽到了一名摄关女儿所肩负的家族责任。但是,由于弘徽殿女御及右大臣一族的政治企图,有悖于桐壶天皇的治世理念,威胁皇权,所以徽殿女御这个人物一直是作为朝廷的对立面而存在的。与此相对,左大臣的女儿葵姬则起到了烘托父亲左大臣正直形象的功能。左大臣通过女儿葵姬的婚姻展示出自己作为廷臣辅佐天皇亲政的决心。尽管葵姬的婚姻是一个悲剧,但是通过她的婚姻与死亡左大臣与光源氏结成了牢不可破的政治同盟。同样身为摄关家族的女儿,胧月夜身上背负着右大臣一族的未来,然而,胧月夜缺乏对自己身份的自觉,一方面被委以家族重任,一方面陷入与光源氏的恋爱无法自拔,为了爱情,屡屡做出违背家门利益的举动。我们从左、右大臣及其女儿身上,可以真切地体会到作者所想表达的儒家的治世观及君臣理念。在第二章“女性与家门复兴”中,主要分析了在桐壶更衣入宫背后隐藏着的复杂的家族背景,以及明石道人对明石姬的婚姻提出苛刻要求的原因,考察了这个家族的两系为了完成祖上遗志,复兴家门所作的努力,以及两位女性在实现复兴家门的大业中起到的作用。在摄关时代,大臣们将女儿送入宫中,大多是为了攫取权力、实现自己的政治野心,然而桐壶更衣入宫时父亲已经去世,显然不是出于这个目的,而且毫无任何外戚支持的更衣,入宫后无论获得多大的恩宠,最终都将以悲剧收场。明石姬的婚姻也是如此,从一开始就注定了自身的不幸,但是两人肩负着家族复兴的责任。这种有违常规的婚姻,是她们实现先祖遗愿的必要途径。在第三章“‘雨夜品评’与家道中落的女性”中,着重分析了“雨夜品评”的蕴含与它在作品中的影响;探讨了同样遭遇家门不幸的空蝉和夕颜两个女性完全不同的生活方式。父亲在世时,两人都是高贵门第的小姐,然而父亲的早逝改变了她们的命运。空蝉沦落为地方官的后妻;夕颜沦为头中将的外室,并因受到正妻家的恐吓而四处躲藏,无处容身。正是这样两个女子,偶然与光源氏邂逅了。空蝉怀有强烈而复杂的门第观念。这种意识一方面源自出身高贵的自豪感,另一方面则来自门第没落的自卑感,再加上对于伦理道德的坚持,使得她对于光源氏的求爱犹豫徘徊,既拒绝又难以坚持到底。而夕颜则恰恰相反,她的门第观念淡薄,试图在理想化的感情中求得解脱,脱离悲惨的现实社会。空蝉最终因为拒绝而受到光源氏的尊敬,在出家后得到了他的庇护,而夕颜则在品尝了刹那的爱情后死于非命。由此凸显了作者对空蝉的门第观念和伦理道德的褒扬,其底蕴与儒家的“女训”思想是一脉相承的。在第四章“没落亲王家的女性及其门第观念”中,主要探讨了常陆亲王的两个女儿与末摘花的门第观念。物语中塑造了不少虽然有着高贵的皇室血统,却不幸落魄、饱尝辛酸的亲王。其中,以常陆亲王和宇治八亲王最有代表性。无论家道衰落到什么程度,他们都从容镇定,决不丧失皇室的尊严。临终前,甚至给女儿留下遗言,要求她们恪守家规,不坠家声,甚至要做好以身殉家的准备。在父亲们的门第观念的影响下,两家的女儿各自作出不同的人生抉择。末摘花坚守父亲遗言,承担了守护家门的重任,大君成为父亲八亲王亡故后的家主,继承了父亲八亲王的门第观念,为了家门家声最终选择了死亡,而中君则通过与匂皇子的婚姻,延续了一门的血脉并给家族带来了复兴的希望。三个女子尽管做法有别,但都在一定程度上继承了父亲的门第观念,守护了家门尊严,尽到了“孝女”的责任。通过以上考察,可以看到在《源氏物语》中,作者赋予了各个阶层的女性们复杂且沉重的家族责任。在平安时代独特的婚姻形态与政治背景的影响下,与“夫家”相比,女性和“父家”的联系更加紧密。因此恪守祖训,维护家门,不坠家声便成了贵族女性道德规范。此外,与摄关时代的历史习俗相比较,尤其是在对于摄关家族女性的评价中,紫氏部不自觉的逸出了传统文化背景的制约,在对女性及其家族的评价中糅合了儒家的“忠”“孝”的思想以及儒家史观,使得作品中家族意识的体现独特而又复杂,展现了作者对于女性与家族这一问题的独特的思考。更多还原

【Abstract】 The Tale of Genji,one of the classic works in the history of Japanese literature, was produced in the early 11^th century and has been considered the Japanese-version of Dreams of the Red Mansions. Its author Murasakisikibu was born in a noble family. The times she lived in was one of regency when the nobles attempt to exert their influence via marriage with the royal family. As a result, what is reflected in The Tale of Genji is the author’s life experiences and the social realities such as the emphasis on family background in marriage. To some extent, the marriage of a woman is always closely tied with the ups and downs of the whole noble family.Most of the current research about The The Tale of Genji focuses on male characters’ awareness of family status. Specifically, male characters’ effort to carry out what their ancestors teach them and maintain their family status has been examined in previous research. Few studies, however, have systematically explored family status awareness from the perspective of female characters. There do have scattered accounts of identity awareness of single character, but these are far from enough in terms of both depth and width.During the historical period in which the author lived, the marriage patterns and living situation of a noble family decides that a close relationship exists between females and their father-side family. A female’s marriage is decided by the status and power of her family; a female usually lives in and economically supported by her parents’ home after she gets married. A female’s children are reared in her parents’ home; she is to be buried in the graves of her father side family after death. That is to say, the fate and living style of a female is, to a great extent, decided by the status of her family. At the same time, females play important roles in their father side family. This is a direct reflection of family status awareness. It is necessary and practical to systematically explore the family status awareness reflected in The Tale of Genji from the perspective of female characters.This thesis aims to focus on the female characters in the novel and the social and marital situation in their times with a view to better understand the family status awareness conveyed by these characters. This thesis falls into four chapters, and they respectively explore the novel from the following perspectives: females and the glory of the regency’s families, females and family revival, females in declining noble families and their family beliefs, and females in declining royal families and their awareness of family status.The first chapter "females and the glory of regency families "centers on the roles played by such females as Kokiden、Aoinoue、Oborodukiyo in two families. Kokiden, the elder daughter of Udaizin, has already been in the royal family and given birth to the first son for the Emperor Kiritubo when he is still a prince. She plays a critical part in the realization of Minister of the Right’s family’s dream of regency" . In the process, Kokiden shows more brilliant political talents than her father. She helps her son to succeed to the throne and becomes the person who holds power in the reign of Emperor Suzaku. She successfully fulfils the responsibility she has to take for the glory of her family. However, the political attempts of Kokiden and her family goes against Emperor Kiritubo’s beliefs of administering a country and poses a threat to the power of the emperor. Therefore, Kokiden as a character is created as a rival for the royal rulers. In contrast, Minister of the Left shows his determination to support the emperor through her daughter Aoinoue’s marriage. Despite the fact that Aoinoue’s marriage is a tragedy, her marriage and death helps Minister of the Left and Genji become close allies. As daughter of the regency families, Oborodukiyo shoulders the responsibility for the future glory of the Minister of the Right’s family. But Oborodukiyo lacks the awareness of her own identity: on one hand, she has family responsibility to take; on the other hand, she gets into love with Genji and does harm to her family interests again and again out of love. From the description of Minister of the Left and Minister of the Right and their daughters, we can perceive that the Confucian beliefs of running a country the author wants to express in the novel.The second chapter "females and family revival" mainly deals with the complicated family background behind Kiritubo’s entry into the royal family, and the reason why Akasinonyuudou places strict limits on Akasinoue’s marriage. This chapter also explores the efforts made by the family to realize their ancestors’ dreams of revival and the roles played by two females in the revival. In regency, the ministers send their daughters into the royal family in order to get power and achieve their political ambitions. However, it cannot be true of Kiritubo, for when she gets into the royal family, her father has passed away. Without support from her family, however much favor she can win, she is certain to get a tragic ending. Similarly, Akasinoue’s marriage is also doomed to be tragic. But shouldering the responsibility of family revival, they have no choice but accept the unhappy marriage.The third chapter "’Amayonosinasadame’and females in declining families" centers on the implications of Amayonosinasadame and its influence in the novel, and explores the totally different life styles of two females, Utusemi and Yuugao, whose families decline. When their fathers are alive, both of them are ladies in noble families. But their fathers’ early death changes their fate. Utusemi becomes the second wife of a local official; Yuugaois reduced to be the lover of Tounotyuuzyou and is forced to hide here and there by his wife’s threat. It is these two females that come across Genji. Utusemi has a strong awareness of family status which comes from her pride in being born in a noble family and from her inferiority brought about by family declining. Besides that, her adherence to moral standards makes her hesitate to make decision facing Genji’s proposal. It is hard for her to refuse flatly. But Yuugao is just the other way round. She almost has no awareness of family status, and attempts to get away from real society and get relieved through ideal love. Utusemi’s refusal helps her win respect from Genji and get his protection after she becomes a nun whereas Yuugao died a violent death after enjoying temporary love. This shows the author’s promotion of Utusemi’s family status awareness and moral standards which is closely related to the Confucian female teaching.The fourth chapter "females in the declining families and their family status awareness" mainly explores the family status awareness of Hitatinomiya’s two daughters and Suetumuhana. This novel creates a few royal people who are born into royal families but suffer a lot in their lives. Among them, Hitatinomiya and Hatinomiya are the most typical examples. To whatever extent their families have declined, they always remain calm and never lose the royal dignity. Before their death, they leave their daughters’ words asking them to keep to family rules and not to bring disgrace to the family. They even require their daughters to be ready to give their lives for their family. Influenced by their father’s family status attitudes, the two daughters from two families made their own choices. Suetumuhana keeps to what her father says and undertakes the responsibility of maintaining her family status. Ooikimi becomes the master in the family after her father’s death, and finally chooses to sacrifice for her family. Nakanokimi brings hope to the revival of her family via her marriage with Prince Niou. Although the three females make different choices, they are all influenced by their fathers’ family status awareness, protect their family’s dignity and fulfill their responsibility as daughters.Based on what is mentioned above, we can see that the author places complicated and heavy family responsibilities on females from all walks of life. Different from the females in ancient China who are required to fulfill the duty of being a wife, the females in The Tale of Genji is trusted with more responsibility of being a daughter. They are more closely related to their parents’ family than to their husbands’ family. Besides, compared with the historical customs in the regency times, especially in the evaluation of females from regency families, the author fails to go beyond the constraints of traditional ideas. She combined Confucian notions of "faith" and "family piety" and other beliefs in her evaluation of females and their families so that the representation of family status awareness on the novel is both complicated and unique. As a result, this placing of responsibility on females partly overlaps with the historical customs at that time, and this also reflects the author’s independent thinking of female-family issue.更多还原