清代女性词观的近代转向

On Modern Changes in the Viewpoint on Feminine Ci Poetry of the Qing Dynasty

清代词家在推尊词体,将词论入诗教的过程中,对于词之女性书写的批评逐渐在词学体系内显现出独立发展的脉络。总体来看,词坛对女性词的批评离不开"情",闺情题材的本质化给予了女性词作者地位的合法性,形成女性词以婉丽为正宗的文体观念;清中期以后,对女性词的雅化要求渗透着妇德女教道德审视,却表明对女性词的批评开始剥离原本附着的男性欲望对象化符号和家国之思隐喻符号意义;随着晚清词坛论说焦点转向真情论,清代词家对女性词的批评转向关注女性个体命运,认可女性词作为抒发女性真实生活情感之文学载体地位。况周颐自成一体的女性词评论体系,表明女性词批评终于脱离符号化与象征化定位,实现了理论意义上的文体独立性。

While many scholars of ci poetry of the Qing Dynasty were engaged in promoting the style of ci poetry and developing the theory of ci poetry, a certain new path, unique and independent, of the criticism on feminine ci poetry was gradually shaped within its study. In general, ＂emotion＂ is the key word in the criticism of women ci writers in the ci circles. The emotion of love, being the nature of ci poetry, had won women ci writers a legal and respected position, generating such a literary form as graceful and charming. Since the mid - Qing Dynasty, the requirement for refinement had been a must of women ci writers, often seen with examination of virtues for women. It, however, reflects that the emphasis of the criticism on women ci writers began to break away from the original symbolic meanings of male desire and nostalgia for home. With true emotions as the focus of the debates during the late Qing Dynasty, scholars of ci poetry started to show their concern for the destiny of individual women, recognizing women ci poetry as literary carriers to express women＇s true feelings and emotions. A style of his own, Kuang Zhouyi＇s criticism system on women ci poetry indicates not only an end to the symbolization in criticism of women ci poetry, but also a start of an independent literary form in theory.