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題名 | 文本與文境的對話:女書三朝書與婦女的情意音聲=Text, Context, and Women's Voices in Nushu Wedding Literature (Sanzhaoshu) |
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作者 | 劉斐玟; | 書刊名 | 臺灣人類學刊 |
卷期 | 3:1 2005.06[民94.06] |
頁次 | 頁87-142 |
分類號 | 802.298 |
關鍵詞 | 文本; 文境; 音聲; 中國婦女; 婚禮; Text; Context; Voice; Chinese women; Wedding rituals; |
語文 | 中文(Chinese) |
中文摘要 | 本文旨在透過文本(text)與文境(context)的對話,呈現同一文體內個個不同音聲之間的關係,這些音聲不僅音質有異,亦有層次與音頻大小之別。有些音聲亮如洪鐘,堂皇冠冕;有些則細若游絲,杳不可聞。其間差異實亦反映了音聲與主流論述的契合度,堂皇洪亮的音聲往往隸屬主流一脈,而與主流相抗衝的異聲,為了明哲保身,不免藏跡匿行,成為隱情。然隱情儘管晦而不彰,卻往往以異軍突起之姿,沓雜主流音聲的威權性,甚或佔其變調。也因此,若欲呈現某一文體深蘊幽邃的原音曲調,則在聆聽朗朗入耳的主調之餘,也須浸淫其中,析解隱情。 本研究即以流傳於湖南省江永縣的女書為例,特別是其中三朝書,陳述此一文體如何在唱和之音軒朗若揭,縷縷不絕不絕於耳,對峙之聲卻晦澀杳然,端賴聚精凝神,否則極易察身而過,聽而不聞。究其因,在於前者是透過字裡行間,也就是所謂的「文本」,傳達訊息,後者卻藏身在書寫和展演文本的情境中,或稱之為「文境」。在文本中,江永婦女明申「三從」與未婚少女姊妹情深這四條關係脈絡,但在展演文本的情境中,她們卻暗地裡開疆闢土,為已婚婦女建構另類認同的表意空間。文本乃冰山一角,而文境卻是冰山一角,而文境卻是冰山海面下的基石,冰山上下,明見度有別,但同出一脈。職是之故,若欲瞭解三朝書幽邃深蘊,以及發聲人內在曲折複雜的情意音聲和外在的制約因素,則必須將分析視角由「文本」擴及」文境」,而這正是本文希冀整合的理應視野。 |
英文摘要 | This article demonstrates how a single genre may comprise multiple voices that do not necessarily coordinate but my compete with one another. More importantly, these voices are hierarchical in terms of their audibility: some are easily heard, and some are muffled or easily ignored. The degree of audibility reflects the orchestration of a particular voice in relation to the mainstream ideology. The heterogeneous (resistant or subversive) voice usually masquerades to escape repression; it is hence hardly noticed. And yet, despite its concealment, it contains the potential to throw into chaos or alter even the basic tone of the overall discourse. To capture the intricate qualities of articulation, we therefore need to be sensitive to al vocalizations, manifest and hidden. To illustrate, I use the female-specific literature known as n?shu (female writing) that was circulated exclusively among peasant women in Jiangyong County, Hunan Province, in south China. Specifically, I focus on the n?shu wedding literature, called sanzhaoshu (third-day book). My research shows that although sanzhaoshu served as a mechanism for socializing women to the male-defined value system, it also carried women’s reflections and critiques on this very and rocentrism. This critical discourse, however, remained unnoticed because it resided not in the text itself, but in its context. The text articulated the male-derived sancong (thrice-following) doctrine and maiden-sisterhood reminiscences, which were in accord with the Confucian social arrangements. The context in which the text was performed create a space where identity and connections could be forged among married women, an activity expressly excluded from patriarchal wedding rituals. To contrast the textual creations with contextual ones illuminates not only how diverse voices may coexist within the sanzhaoshu genre; the interplay of these also highlights how protagonists negotiate between their inner sentiments and social constraints, and how women’s perspectives are complexly constructed and dialectically positioned. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。