性别的反转——《第十二夜》《梁祝》中女扮男装情节的差异

Gender Conversion:Comparison of Transvestite Behavior in Twelfth Night and Butterfly Lovers

女扮男装是戏剧作品中常出现的桥段,反映了特定时代背景下的社会性别意识与两性关系。本文以中英戏剧《第十二夜》《梁祝》为例,对比了两位女主人公在女扮男装时的差异,借助性别构建理论分析其原因,揭示了该现象下的社会性别认知导向。17世纪英国倾向于用感性经验结合理性认识来判断一个人的身份;而两晋时期的中国女性虽出现反抗意识,但无法摆脱对男性天然的依赖性。性别意识的演变受人类社会发展影响,性别解读是社会结构改变的映射,因此,两性为社会进步所做出的贡献应成为性别价值判定的重要依据。

Transvestism,a recurring theme in theatrical works,serves as a representation of the evolving gender consciousness and the relationship between the sexes in the modern era.This comparative study examines the phenomenon of transvestism in Shakespeare's comedy Twelfth Night and Chinese Shaoxing Opera Butterfly Lovers,aiming to highlight their differences and underlying causes through the lens of gender identity construction theory.The research reveals disparities in the perception and understanding of gender across different time periods.In the 17th century,the British culture sought to blend sensual experiences with rational comprehension to determine one's identity.In contrast,ancient China,specifically during the Jin dynasty,witnessed the emergence of female resistance,yet their innate dependence on males persisted.The evolution of gender consciousness is influenced by the development of human society,and its interpretation serves as a reflection of the shifting social structures.Consequently,the contributions made by each gender to social progress become crucial criteria for assessing societal values.