《聊齋誌異》中的厭女情結之探究

Abstract

《聊齋誌異》中的女性角色繁多，展現出多元且豐富的生命情態。歷來有許多學者研究《聊齋誌異》中的女性角色，在女性角色是否展現出超越時代侷限的情節一事上亦有許多討論。明清時期為中國婦女受到最多限制的朝代，上至官方，下至庶民皆透過各種獎勵與懲戒的手段，迫使女性必須依循貞節、忍苦的制度。《聊齋誌異》的女性乍看十分開放前衛，勇於追求情慾自主，然而卻仍多數皆服膺於父權體制下選擇為男性服務，而呈現出前後不一的角色矛盾。本論文的研究目的，即是透過「厭女情結」的理論基礎，解構女性角色的矛盾，深掘在解放女性情節背後的男性凝視意圖，以此分析蒲松齡與大時代下的「厭女」之具體展現。本論文從官方律法、知識階級、民間實況三個面向探究明清時期的社會時局與婦女觀，心學興起後文人與民間對理學對女性帶來的桎梏提出反省，以李贄、馮夢龍為例與《聊齋誌異》進行共時性比較，定位出蒲松齡在開放與保守的光譜上並未展現出突破時代的性別觀點。本研究進一步針對表現出厭女傾向的「異史氏曰」，找出異史氏對貞節的肯定、對悍妒婦的批判，以及聊齋中對美女的雙重標準和代夫受過的特殊女性等內容。《聊齋誌異》的世界觀中女性具有多重的工具性，女性被賦權意在使男性獲得更好的服務，因此情節中藉由懲戒與獎勵的手段，令厭女的機制從中執法，女性仍被限制在《聊齋誌異》所建構出來的道德框架中無法掙脫。The female characters in"Strange Tales from a Chinese Studio" are varied, exhibiting a diverse and rich range of life experiences. Scholars have long studied the female characters in the collection, with much discussion about whether these characters transcend the limitations of their time. During the Ming and Qing dynasties, Chinese women faced significant restrictions. From officials to commoners, various rewards and punishments compelled women to adhere to systems of chastity and endurance. while the female characters in ''Strange Tales from a Chinese Studio''may initially appear liberated and forward-thinking,boldly pursuing automous desires,many still ultimately conform to serving men under patriarchal systems,presenting a contradictory portrayal. The purpose of this research is to deconstruct the contradictions within the female characters through the theoretical framework of "misogyny complex," delving into the male gaze intent behind the narrative liberation of women, and analyzing Pu Songling’s specific representation of"misogyny" within the broader context of his era. This thesis explores the social situation and women's views in the Ming and Qing dynasties from three perspectives: official laws, elite, and popular culture. With the rise of Neo-Confucianism, intellectuals and the public reflected on the constraints that Confucianism imposed on women. By analyzing figures like Li Zhi, Feng Menglong, and comparing them synchronously with " Strange Tales from a Chinese Studio ". It is determined that Pu Songlingdid not present a breakthrough in gender perspectives within the spectrum of openness and conservatism of the time. Furthermore, this thesis delves into the representation of the misogyny tendency in" Pu Songling ‘s Point" identifying Pu Songling ‘s affirmations of chastity, critiques of jealous women, double standards for beauties, and the women who have taken the blame for their husbands mistakes. In the worldview of " Strange Tales from a Chinese Studio " women possess multiple instrumental roles aimed at providing better service to men, thus enforcing mechanisms of aversion to women through punishment and reward. Women remain confined within the moral framework constructed in " StrangeTales from a Chinese Studio" unable to break free.