《红楼梦》《镜花缘》女性意识的艺术表现方式比较

The Comparative Study of the Art of Representation of Women Sense in the Story of Stone and Jing Huayuan

《红楼梦》《镜花缘》是清代小说中高扬女性意识的两部杰作,本文重点探讨两部作品女性意识的艺术表现方式的异同。曹雪芹、李汝珍都选择了远离夫权的少女群像作为传达其女性意识的主体形象,分别创设了一个特定的能够逃离父权的生存空间,让作品中的少女们得以远离男性,逃离夫权、父权的束缚,从而更好地实现对女性意识的表现和自己女性观的传达,完成对父权的控诉。不过,从总体上看,《镜花缘》的少女崇拜只是对《红楼梦》的借鉴,它最终没有超越《红楼梦》;而《镜花缘》采用的将父亲排除在叙事外的逃离父权的方法只是貌似《红楼梦》,没有得其精髓,缺少《红楼梦》深厚的内容和悲剧底蕴。

Cao Xueqin＇s the Story of the Stone and Li Ruzhen＇s Jing Huayuan are remarkable books in the Chinese novel history. The most remarkable point in both novels is the sense of women＇s liberation. Both of the two novels depict a feminist utopia in which the patriarchal discourse on femininity is questioned and the hierarchical structure of the male over the female is subverted. Its unprecedented brave sense of women liberation, as a very radical works contributes to Chinese novels. Although Jing Huayuan mechanically imitates the Story of Stone on the whole, it has its innovative and progressive meaning in the way of escaping from paternity in part.