故道與新徑：論廬隱、馮沅君、凌叔華小說的身體意象與女性意識

Old Paths and New Directions: Bodily Imagery and Female Consciousness in the Fiction of Lu Yin, Feng Yuanjun, and Ling Shuhua

20世紀的「五四運動」可視為現代中國的濫觴，新文學運動於此間崛起，在中國文學史上立下一座巍然界碑——古典文學的長潮漸歇，現代文學的洪流初湧。在這場語言革新與文化辯證的雙重洪流中，五四小說成為「新文學」最具代表性的成就之一。小說被「提升為構建民族想像的方法」，後來五四時再匯入抒情，以調和個人與民族的想像工程。新時期的女性開始寫作，「女性小說家」尤為耀眼，重要作品迭出，逐漸取得話語權，女性既是文學的主角也是主題。本文旨在探討廬隱、馮沅君、凌（淩）叔華小說，五四女作家如何輕掀禮法的簾帷，呈現女性身體意象與女性意識萌發。五四女作家關注的是女性、妻性、母性，有時專文撰述，凸顯某一主題，有時三者交織、混融。「新女性」的身上依然留著「舊傳統」的紋路，在上學、成年或步入婚姻後，舊式思維仍深烙其身。女性與文學的道路，固然比往昔擴闊許多，但在擺脫傳統文化的同時，五四女作家仍不免受其羈絆，這種亟欲擺落卻又不得不回應的牽纏，或許正是她們創作中最動人也最複雜的張力之所在。

The May Fourth Movement is widely regarded as a defining moment in the emergence of modern China. During this period, the New Literature Movement fundamentally reshaped Chinese literary culture, marking a decisive transition from classical to modern literature. During this period, the New Literature Movement emerged, establishing a major watershed in Chinese literary history: as the long tide of classical literature receded, the current of modern literature began to surge. Within the dual currents of linguistic reform and cultural dialectics, May Fourth fiction became one of the most representative achievements of the“New Literature.”The novel was“elevated as a means of constructing national imagination”and was later infused with lyricism to mediate between the individual and the collective ideal of the nation. As women began to write, female novelists rose to prominence, producing significant works and gradually gaining discursive authority.“Woman”thus became not only a literary subject but also a central theme. This paper examines the fiction of Lu Yin, Feng Yuanjun, and Ling Shuhua, exploring how these May Fourth women writers subtly lifted the veil of patriarchal propriety to articulate female bodily imagery and the awakening of female consciousness. May Fourth women writers often focused on femininity, wifehood, and motherhood—sometimes treating these themes separately, at other times intertwining them in complex ways. Traces of“old traditions”remained visible upon the“new woman,”as premodern thought continued to shape her after education, maturity, or marriage. Although women’s literary paths expanded significantly compared to the past, these writers remained entangled with the traditional culture they sought to resist. This tension—between rejection and response—constitutes perhaps the most intricate and moving force within their creative works.