探析白薇的性別意識

Analyzing the gender awareness of Bai, Wai

五四新文化運動時期，中國知識分子大量翻譯了外國文學作品，並介紹了來自西方的現實主義文學，此時易卜生的作品《娜拉》（亦作《玩偶之家》）也被傳入中國，並對當時的話劇產生了相當大的影響。在當時話劇作品的創作者皆為男性，女劇作家則相對非常稀少，白薇（1894-1987）正為其中之一。本文從白薇的文學創作淵源談起，分析其代表作《打出幽靈塔》的性別意識，最後加以與胡適《終身大事》比較，呈現男女劇作家在角色的性別塑造上所關注方向的差異。

The period of the May Fourth Movement, intellectuals in China abundantly translated foreign literatures and introduced the Western Literary Realism. At that time, Henrik Johan Ibsen's Nora (also called A Doll's House) was also introduced into China and affected the theatres of China of that time. Most of theatre creators were men, therefore, women theatre creators were relatively infrequent and one of these was Bai, Wei (1894-1987). This paper first discusses Bai, Wei's the origin of literary creation and analyzes gender awareness in her representative work “Da chu you ling ta＂. At last this paper compares with Hu, Shi's “Zhong Juan Da Shi＂ and emerges differences of gender role portrayed which are paid attention to between men and women theatre creators.