从脚谈起:张爱玲小说《金锁记》《怨女》的身体书写

Starting From the Foot:The Body Writingin Eileen Chang’s The Golden Cangue and The Rouge of the North

《金锁记》中曹七巧小脚的叙述犹如草蛇灰线,却完美地呈现出曹七巧人性异化的历程。姜季泽捏了曹七巧的小脚,使她萌生了爱的感觉。曹七巧刚一出场时眉眼清晰,后来渐趋模糊,与之形成对照的,则是曹七巧的小脚由隐而显,曹七巧架在婚后的儿子肩上的小脚成了变态情欲最显著的象征物。张爱玲小说中的身体书写很有画面感,捏脚、架脚呈现出来的影像富有画外之意,图像内外的双重建构使张爱玲的身体书写富有审美的张力。从《金锁记》里的曹七巧到《怨女》里的柴银娣,写小脚的两个细节消失了,性的表征由脚转向了乳房。小脚的叙述及改写,呈现了张爱玲对转型期中国社会女性悲剧命运的深刻观察。

The writing about the bound feet of Cao Qiqiao in Eileen Chang’s The Golden Cangue embodies the process of the character’s alienation.Jiang Jize pinched a foot of Cao Qiqiao which made her fall in love.Cao Qiqiao’s eyebrows and eyes are por-trayed vividly at first,and then become blurred gradually in the novel,while,her small feet,which were initially hidden,became more prominent.Cao Qiqiao put her bound feet on the shoulder of her son,which is the most prominent symbol of abnormal desires in her heart.The body writing in Eileen Chang’s novels has a strong visual sense.The images of pinching and lifting feet are rich in symbolic meaning,endowing the novel with a great aesthetic tension.From The Golden Cangue to The Rouge of the North,Ei-leen Chang rewrote the sex story by exchanging the bound feet with the breast.The body writing of the bound feet and its rewriting embodies Eileen Chang’s profound observation on the tragic fate of women in transitional Chinese society.