只见“袍子”,未见“虱子”——论《长恨歌》性别书写的症候

No Lice but Robe--On the Symptoms of Gender Writing in Everlasting Regret

发表后近三十载,王安忆的长篇经典《长恨歌》的文学价值已得到肯定,然而从性别政治的角度重审这部女性作家的性别书写,可以看到其女性意识的薄弱以及伦理价值的缺陷。20世纪80年代中后期中国文坛掀起了一股女性主义写作与批评之风,然而《长恨歌》的女性意识却朝向传统,呈现出一种倒退的趋势。在对男权文化的认知上,作者表现出一种无性别等差的一致同情,有意忽视性别政治中紧张的权力关系;基于这种认知,小说在叙事模式上,采用一种传统的由盛及衰的宿命轮回观代替现代开放式的线性时间观,隐匿式的“性”书写一反她前期的“性爱”审美特征;在对女性悲剧命运的观照中,这种审美化的方式规避了现实主义的社会探因,体现出一种伦理关怀的冷漠。

Nearly 30 years after its publication,the literary value of Wang Anyi’s long classic Everlasting Regret was affirmed by the literary circles.However,re-examining this female writer’s gender writing from the perspective of gender politics shows the weakness of her female consciousness and defect in ethical value.Despite the trend of feminist writing and criticism in Chinese literary circles in the mid-to-late 1980s,in Everlasting Regret Wang Anyi’s female consciousness instead turned towards tradition,showing a backward trend.In the cognition of patriarchal culture,the author shows a consistent sympathy without gender differences,and intentionally ignores the tense power relations in gender politics.Based on this cognition,the novel adopts a traditional narrative mode.The modern open-ended linear time view is replaced by the fateful cycle of prosperity and decline,and the concealed sex writing is contrary to her earlier sex aesthetic characteristics.In the observation of women’s tragic fate,this aesthetic approach evades realism and shows little ethical concerns.