摘要
卓文君形象于现存明清戏曲中有着独特的呈现方式,其形貌描写受纤足审美影响,品德上突显出封建淑女贞、孝、贤的操守,又普遍以慧婢角色为陪衬。缠足时俗之下文君角色的纤足特征关联着道德层面对女性的规约与期许,变异形象与固有情节之间的文本断裂又催生出人格互补的对象。戏曲对卓文君形象的重塑体现出社会文化的投影以及文化浸润下的接受旨趣,也借助了体裁自身的发展需求和艺术特质,文君形象乃至相如文君故事的演变是文化与文学共同作用的结果。这种叙事现象剥夺了人物故事作为客观历史的真实属性,又赋予其作为文学创作对象的生命能量,最终使之获得在更广阔的时空范畴内延绵发展的无限可能。
The image of Zhuo Wenjun in existing Ming and Qing dynasty operas has a unique presentation.Her physical appearance is influenced by the aesthetic of bound feet,and her moralities highlight the chastity,filial piety,and virtue of a feudal lady.In addition,she was often accompanied by the role of a clever maid.Under the custom of foot binding,Zhuo’s bound feet are associated with moral expectations and regulations for women.The textual disjunction between her altered image and the inherent plot gives rise to complementary personalities.The reshaping of Zhuo’s image in operas reflects the projection of social culture and the acceptance interests under cultural influence.It also leverages the developmental needs and artistic characteristics of the genre itself.The evolution of Zhuo’s image and her story with Sima Xiangru is the result of the combined effects of culture and literature.This narrative phenomenon strips the character’s story of its objective historical authenticity,yet endows it with the vitality of a literary creation,ultimately granting it the potential for continuous development across broader temporal and spatial dimensions.
出处
《四川师范大学学报（社会科学版）》
CSSCI
北大核心
2024年第5期184-191,208,共9页
Journal of Sichuan Normal University(Social Sciences Edition)
