從閨房、書齋，走進歷史：吳藻《喬影》的空間隱喻、物質象徵與行為意義

From the Boudoir and Study into History: Spatial Metaphors, Material Symbols and Significant Actions in Wu Zao's Qiao Ying (The Disguised Image)

本文借用英國作家吳爾芙《自己的房間》的空間隱喻、對於女性創作文學一事的思索，以及該作既抒情且辯證的文字特色作為參照對象，藉以分析清代女性劇作家吳藻在《喬影》一劇裡以「書齋」作為女性自我重新詮釋的空間場域，並透過象徵性物質與特定儀式行為的安排設計，建構出一個私密的女性抒情世界，進而傳達女性創作者挑戰男性文學歷史的慾望。《喬影》藉著戲劇裡的角色扮演與獨白話語，以及抒情與敘事文法的並用，展現出極富女性色彩的思考與書寫，亦呼應了作者細緻的個人情感與流動的性別意識；同時也在這些跨越既定疆界的文字裡，吳藻親身示範了女性作家從男性文學脈絡出走，建立自身文學風格的可能性。 Adopting the spatial metaphors found in Virginia Woolf's A Room of One's Own, and taking as a point of reference the lyrical and dialectic characteristics found therein, in this paper I discuss how the study is used as a metaphorical space for expressive potential in the drama Qiao Ying (The Disguised Image) written by Wu Zao, a female playwright of the Qing dynasty. I also examine how she uses symbolic objects and particular actions to construct a woman's private world of emotion and to challenge the male hegemony of Chinese literary history. Through the use of drama, emotional expression, and narrative, Qiao Ying displays the richness of feminine reflective thought, as well as Wu Zao's inner sentiments and detailed views on gender. Moreover, by transcending fixed literary boundaries, she personally demonstrates how a female writer can find her own voice in a male-dominated field.