梁启超《近世第一女杰罗兰夫人传》的传记策略与女性设计

The Biographical Strategy and the Portrayal of a Woman in Liang Qichao’s“Biography of Modern heroine Madame Roland”

梁启超的《近世第一女杰罗兰夫人传》源自德富芦花的《法国革命之花》。梁启超按照早年母教论与女学实践弱化了罗兰夫人的家庭教育和教会教育,并根据新的史学理念强化了以《英雄传》为核心的自学,让罗兰夫人成长为兼具爱国情感与政治理想的女性主体。为了强化罗兰夫人的爱国情感,梁启超删除了对罗兰夫人爱情、亲情、友情等个人情感的描述,从而回应了他此时所倡导的道德革命。在处理与爱国情感相关联的政治活动时,梁启超带着女扮男装文化传统的先见赋予罗兰夫人雌雄同体的双重性别。在面对女性的政治权这一新的女权问题时,梁启超具有某种保守性。

Liang Qichao’s Biography of Modern Heroine Madame Roland found its roots in Tokutomi Roka’s The Flower of French Revolution.He weakened Madame Roland’s family education and church education according to his early Mother-led education and overall women’s education practice.At the same time,he intensified self-study in the biography of a hero on the basis of his new outlook of history resulting in Madame Roland’s growing into her female subjectivity with patriotic feelings and political ideals.In order to intensify Madame Roland’s patriotic feelings,Liang Qichao left out her personal emotions such as love,family affection and friendship,in response to his promotion of moral revolution at the time.In his depiction of political activities that were related to patriotic feelings,he inherited the Chinese cultural tradition where a woman was sometimes found disguised by dressing up as a man and endowed Madame Roland with bisexual identity.Liang Qichao after all maintained his conservative stance on the feminist issue of women’s political rights.