2003-08-012024-05-18https://scholars.lib.ntu.edu.tw/handle/123456789/708361摘要：除了在「前言」中申明性別研究的意義之外，本研究將透過以下幾個面向，對杜甫詩歌文本所展現的女性形象及其所蘊含的性別意識加以分析： 一、「莫學野鴛鴦」──官方社會以外的婦女 杜甫詩作中出現的女性形象，一大部分屬於社會倫理結構之外的歌席舞宴的色藝之輩，而杜甫也不吝於採用齊梁豔體進行對女性感官美的描述，透過綺麗秀媚的詩句而上承宮體、下開晚唐，呈現出濃厚的、娛人的「物感」（sensation）。雖然這類描寫尚未達到「妖女、蕩婦、女魔──罪惡的化身」此一程度，然而依然呈現出羅拉‧摩爾菲（Laura Mulvey）所謂「女性身體∕男性觀眾」（the female body / male spectator）的相關模式，其中「男性的凝視」（male gaze）是猶疑搖擺在窺視和狂戀物癖的執迷（fetishistic fascination）之間，透過「主動∕男性」、「被動∕女性」呈現出觀看的樂趣。女人同時被觀賞和展示，因此其外表含有強烈的視覺和色欲的刺激，她們遂可以被稱為具有可看性（be-looked-at-ness），可以說是一種性對象（The sex object）之類型。 二、「防身動如律<br> Abstract: This project proposes to analyze women figures and gender consciousness in Du Fu’s poems. My aim is to incorporate feminist studies into analysis of traditional Chinese literature, thus not only bringing new perspectives into traditional literature criticism but also testing the power and relevancy of the feminist readings. The feminist studies, which last for at least a century and achieve culmination today, cover wide range of study areas, from mythology, anthropology, psychology to literature criticism. One of the most focused topics is to explore the women figures in (works of) androcentrism. Another, equally important, topic is to retrace, understand, re- and de-construct historico-socio-culture gender consciousness, which may still deeply affect us through rudimentary tradition. Fully keeping these two concerns in mind, in this project I propose to analyze women figures and gender consciousness in Du Fu’s poems. By such a research, on the one hand, I intend to bring feminist critical view points into the study of Du Fu’s poems and, on the other hand, enrich contemporary feminist reflection via a comprehensive interpretation of rudimentary historical consciousness (here, Du Fu—the most conservative advocator on this issue in a relatively liberal era of Chinese tradition, T’ang dynasty). There are three main types of women figures in Du Fu’s poems: 1. Unorthodox Women (「莫學野鴛鴦」). The artist-prostitutes, described by Du Fu with the style of 齊梁豔體, play the role of the sex object and reveal women’s be-looked-at-ness. Such figures reveal Du Fu’s (androcentric) male gaze and fetishistic fascination. (See Laura Mulvey.) 2. Orthodox Women (「防身動如律，竭力機杼中」). Consciously admired and recognized with positive value by Du Fu, this type of women represents what M. A. Ferguson called the traditional images of women, The Wife and The Mother. I will fully analyze three subtypes of this category: the sacrificed, the virtuous, and the earth-mother. 3. “Menlike” Women. The marginal figures that live on their own effort in an upside-down world, where the cultured society loses its order (through wars). I will explore the gender consciousness revealing through above three types of women figures in Du Fu’s poems. Based on these results, I will then investigate the female mythic characters in Du Fu’s poems, Du Fu’s wife and daughter in his poems. All these detailed and extensive analysis point to the same direction, which can be summarized in Du Fu’s attitude to sextial-differentiation and to marriage. In a word, Du Fu, the one who synthesizes and completes of previous poetry, stands at the most conservative side on the issue of gender consciousness in T’ang dynasty, a rather gender-liberal era of ancient Chinese. Besides interpreting the traditional content with new perspectives and testing the power and relevancy of the feminist readings, this project will also lay a step toward the critical examination of Chinese traditional gender consciousness, w杜甫詩性別意識女性形象女性主義男性中心宮體詩男性凝視Du Fu’s poemsgender consciousnesswomen figuresfeminismandrocentrism