掩紅淚、玉手親折－－清真詞的女性書寫與性別意義

Hiding tears, a young woman snaps willow branches ─ “women’s writing” and its gender meaning in Zhou Bang-yan's Song Lyrics

本文以女性書寫為切入點來研究清真詞，以清真詞中「女性形象的建構」、「女性書寫的寫作策略」與「女性書寫的性別意義」為探討重點。清真詞中所建構的女性群像主要有四：「傷情離別的佳人」、「獨守空閨的思婦」、「慾望熱烈的女子」與「才貌雙絕的歌女」。在寫作策略方面，分別由「女性私密閉鎖的生活空間」、「女性面貌身體的描摹」、「敘事筆法與仙女之塑造」、「時空錯置與佳人阻隔」四點加以探討。最後，清真詞中女性的文化意義詮解上，其中的女性幾乎呈現沈默消音的形象，沒有發言的權利。女性一旦發言，仍然無法逸離以男性為中心的話語，往往圍繞在女性的「情感依賴」與「情慾書寫」之上。這也說明集宋詞大成的周邦彥，在性別意識上仍舊主要受到傳統文化的影響。

This paper studies Zhou Bang-yan's song lyrics in terms of the construct of female images, the writing strategies in representing women, and their gender meaning. Female images may be divided into four types: saddened ladies leaving their lover, house-kept wives missing their husband, passionate women longing for intense love, and female singers endowed with beauty and talent. Zhou's writing strategies of women includes the followings: women's private and guarded living space, descriptions of female visage and body, narrations and the imaging of immortal ladies, and time and space misplacement and separation of a beautiful woman. As for the cultural meaning of these writings of women, we find that women play a silent role, having no right to speak out for themselves. When they do speak, they can hardly escape male discourse. They are either emotionally dependent or indulging in writing of passion and desire. All points to the fact that Zhou Bang-yan, who inherits the best of the Song Dynasty's song lyrics, is still entrapped by traditional culture regarding gender consciousenss.