《聊斋志异》“花妖狐魅”中的史实与话语建构

The Historical Facts and Discourse Construction of “Flower Spirits and Fox Ghosts”in the Novel of Strange Tales in the Studio——Re-interpreting Character Context and Cultural Value of Strange Tales in the Studio in the Perspective of Society and Culture

对《聊斋志异》女性狐鬼形象的解读视角,历来集中在性别话语或文学赏析上。本文拟从社会文化史的角度入手,探讨蒲松龄塑造花妖狐魅的具体语境与文化价值。《聊斋志异》的非现实女性形象,是由明清病态审美观发展而来的,蕴含着此前文学作品难以处理的现实题材与人类经验的内容。主要观点有三:一、虚幻女性可以达到"妍质"的极致,身体极端轻小以迎合病态的文化审美,可以具备现实女性缺乏的文化修养。二、狐鬼的风流放诞隐喻了民间的性越轨风俗,虚幻的人物体现了民间原始欲望和粗朴的底层生活。虚幻使不合乎礼法道德的人事,取得了合法的表达与传播方式,这是《诗经》以来萎缩的文学表现力的再扩展。三、从文化史的综合角度研究《聊斋志异》,有助于更具建设性地理解和阐释其中人物。

The unreal women in Strange Tales in the Studio come from morbid aesthetics in the Ming and Qing dynasties. There are three points. First,the unreal women were small in height and light in weight to meet the morbid cultural aesthetics,which showed that the real women lacked the cultural cultivation.Second,the romances of fox ghosts revealed the sexual deviant behavior,reflecting the primitive desire and simple life of the masses. Those that were not allowed by ritual ceremony and morality can be expressed in the unreal world. Third,it is helpful to understand and interpret the characters in Strange Tales in the Studio in the perspective of cultural history.