摘要
以往《红楼梦》研究者大多将警幻仙姑作为"至爱女神"、"至情仙子"加以评说、赞赏。本文作者不予认同。通过对警幻仙姑出场前、邂逅宝玉、在幕后,进行追踪蹑迹式的省视,在此基础上,对她的性格的主导方面重新作出论析,并对一些学者的观点进行辨析。
In the past, most researchers of A Dream in Red Mansions used to judge and appreciate the Phantom Fairy as "Goddess of Love" or "Fairy of Love". Here the writer disagrees. By examining the scene that preceded Phantom Fairy' s appearance, the unexpected meeting with Baoyu and her performance behind the scene, this paper reanalyzes the dominant aspects of her character and argues with the views of some scholars.
作者
季学源
JI Xue-yuan(Cultural Research Institute,Zhejiang Fashion Institute of Technology,Ningbo,Zhejiang 315211,China)
出处
《浙江纺织服装职业技术学院学报》
2018年第4期43-48,共6页
Journal of Zhejiang Fashion Institute of Technology
关键词
警幻仙姑
非常艺术手段
漫画式人物
淫论
宝玉的导师
Phantom Fairy
unusual artistic means
cartoon character
pornographic theory
Baoyu' s tutor