王美秀Mei-Hsiu Wang廖翌倬Yi-Cho Liao2019-08-282014-1-292019-08-282013http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0698810017%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/85874婦女研究隨著1895年日本占領臺灣的風潮始進入臺灣，近來更在台灣學術界形成顯學。因為自覺於兩性的不平等，女性議題開始關注「主體」，透過女性自身是否擁有個人情感的思維和自我的意識，以及在男性主導的象徵秩序中能否將個人置於社會文化結構上的自主能力來檢視。本文以性別研究的概念，探討唐代女性是否具有主體，再從兩性角度觀其之實踐與自我展演。第二章從拉岡的「觀視理論」著手，討論視覺上造成的主動與被動的位置，證實中唐女性同時兼具男權力量的受制者、和裝扮身體以邀請他人關注的邀請身分。第三章以〈張好好詩〉、〈柳枝五首〉、〈秦婦吟〉三首男性詩人直接以女性作為主角的詩歌，前兩首觀察兩性互動中女性意識的展現，在逐一檢視詩歌內容的同時，剖析男詩人詩歌創作的動機和字句中透露的深層訊息；韋莊一首則是從戰亂逃亡，經由說話身分的轉換，及戰爭中消失的男性激發女性強烈生存的意志，在奔走數百里的被迫流動中凸顯了自我。第四章從「女性主體的內涵為話語建構」，專注討論宮廷女性跳脫約束力、帶動的詩歌創作風氣，和魚玄機、薛濤、李冶三位作品甚多的女詩人，探討作品內容呈現其關注的核心，以見女性主體的發揚。Gender studies have been upcoming in the last few decades within Taiwanese academic circles. This field specifically focuses on the female role as a ‘subject’, rather than an object from a male perspective. They examine to what extent women are able to take lives into their own hands within Lacan’s so-called ‘symbolic order’ of patriarchical society. This is done by analyzing whether women are self-conscious or not of their own behavior and personal emotions. This thesis is written in line with this kind of research, and therefore belongs in the field of gender studies. First of all, this thesis inquires into the question whether Tang Dynasty women are subjects or not (as opposed to objects of males), and looks into the practices of the two sexes and how they profile themselves. It uses Lacan’s Gaze theory and discusses how vision initiates either an active or passive position/role. In doing so, it proofs that Tang women are on one hand under the control of masculine power, but on the other hand know how to dress up in order to draw male attention. Secondly, the thesis uses ‘the poem of Zhang Haohao’, ‘a set of five poems for Liu Zhi’, ‘Qin Fu’s poem’, all written by male poets who use three specific women as the subjects of their poems. The first two observe the way female subjectivity is expressed within male-female interaction, and the way women freely choose their love. Weizhuang’s poem describes Qin Fu’s experiences, from the way the war started, how she escaped from it, and what happened to her during the escape, and how in this process female subjectivity becomes apparent. The final chapter is divided into two parts. The first part uses the writings of female authors as its core. It focuses on discussing how royal women bring about the atmosphere of creating poems. Not only an atmosphere in which they themselves could compose poems, but also an atmosphere that created a certain platform for high ministers in the court on which these male characters could display their literary talent. Thus, by urging men to do things because of them, the royal women found a way to break free from male domination. The second part analyzes the abundant works of three female poets; Yu Xuanji, Xue Tao, and Li Ye. It points out the main points of concern of the female authors at that time by analyzing the content of their works. In this way, the development of the female subject is presented.女性主體唐詩女性詩人女性主題詩female subjectTang poetryfemale poetspoems with a female theme