六朝辭賦中的女性形象─〔神女〕的模擬與轉化

Abstract

本計畫以六朝辭賦中的「神女論述」為範圍，探索賦家如何承繼屈、宋所建立的「情 慾－（君權）－道德」的象徵體系，同時又因應個別書寫背景而有新出的轉變。結果 發現，一方面先秦描摹情色經驗的符徵（signifier）經過漢末曹魏年間集團書寫的複 製稀釋而逐漸失去原來被期待的政治諷諫作用，不論〈神女〉或〈正情〉系列的唱和 祖述，都企圖於纏綿婉轉的思緒情網中，解脫「情色－道統」或「情色－權力」的政 治性比興。但是另一方面，像曹植〈洛神賦〉與阮籍〈清思賦〉卻又獨出一幟地以愛 情傳奇與玄思體驗賦予「神女」這舊符徵以新寓意，巧妙地完成抗拒與見證的目的。 這意味著任何文學體類或隱喻符碼在轉變與重建的過程中，其實有著多元的可能向 度，「神女」在當時男性作家筆下，成為周旋於文藝美感與政治反諷分流書寫中的新 意象。

Dated from chu-yuan and sung-yu, the rhapsodies titled with "seeking for goddess" as well as related writings about affection and lust form a very important "goddess discourse" tradition in the history of Chinese rhapsody. By studying such "beauty" rhapsodies of six dynasties and even upstream to pre-chin dynasty and two Han dynasties, this project intends to find how feminine image lingers among the mythology, politics, morality and emotional desire which are implied in the different writing subjects for goddess, beauty and normal affection; and the procedures how feminine image is recurrently imitated and transformed.