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| 題 名 | 沈默之聲：中英二十世紀前的女性書寫--兼論珍．奧斯婷與賀雙卿=Sound of Silence: Pre-twentieth Century Female Discourse in Jane Austen and He Shaung-ching |
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| 作 者 | 謝瑤玲; | 書刊名 | 東吳外語學報 |
| 卷 期 | 14 1999.01[民88.01] |
| 頁 次 | 頁217-229 |
| 分類號 | 815.1 |
| 關鍵詞 | 女性書寫; 女權運動; 拜倫式女英雄; 女性文學; |
| 語 文 | 中文(Chinese) |
| 中文摘要 | Virginia Woolf在＜自己的房間＞（A Room of One's Own）中對西方文學史上 女性作家的稀有提出質疑。她驚異的發現即使在英國正史中對於女性的記載也極其稀少，甚 而在兩次記載間便間隔數百年，且記錄的無非是女性在家庭及社會中附屬於男性而被動、被 制約的〔無〕地位。 正因女性在男性歷史（ history ）受到壓抑，所以女性書寫在二十世 紀前幾乎沒有發展。 中世紀與文藝復興時期，只有少數出身教會或宮廷的女性有機會受教育或寫作，但是她們附 屬於男性文學的傳統下幾乎沒有女性意識可言。十七、十八世紀因工業化開始而使印刷普遍 ，閱讀人口大增，即使中產階級的女性亦可在家中以書寫為業，然而清教徒的保守思想加上 經濟改革更強調〞男主外、女主內〞的觀念，卻使得這些女作家〞心靈受到阻礙與狹促，如 中國婦女的纏足。〞十九世紀，隨著維多利亞女王主政六十年，女權主義抬頭，可是絕大多 數婦女仍被法律與習俗限制在〞附屬、隱私的領域〞中。然而無可否認的，此時期英、美兩 國出現了許多知名女作家， 如 Bronte 姊妹、 Jane Austen、 George Eliot、 Elizabeth Browning、Emily Dickinson 等，且她們在女權運動的影響下，寫出或體現了〞拜倫式女英 雄〞（ Byronic heroines ）的〞逆女〞角色，也預告女性書寫在二十世紀的榮景。 反觀中國，由於人倫之始以男性為主而造就性別奴役秩序，女性一直附屬於男性之下；有男 才有女，有夫才有婦。且女性在文化符號系統中對其被壓抑的處境亦不自覺。在這種女性物 化的情況下，女性在文學中的形象非道德完滿的貞潔烈婦便是鬼魅邪惡的妖婦，更遑論由女 人執筆寫出傳世之作了。即便有名門才女的出現，這些女性作者的文字亦侷限於男性文學的 傳統中，或甚而被貶抑為〞閨秀之作〞，少有女性主體的醒悟。中國女性文學的出現要等到 二零年代的新文學運動之後，而女性書寫的蓬勃更可說是近二十年來的發展。 當 Virginia Woolf 在 1942 年提出女人要寫作務必得有固定收入和屬於自己的房間時，女 性已書寫歷經長期革命，即將開花結果。 |
| 英文摘要 | In A Room of One's Own, Virginia Woolf wonders why there are few female writers in Western literary history. She finds that even in England's History references to the subject of "Woman" are rare, and two of those rare cases appear with an interval of more than two hundred years. Moreover, all of the entries refer to the position of women in family and society which is subjected to and defined by male dominance. Precisely because history has been written by men, women have always been suppressed in man's history, and female discourse could hardly develop before the twentieth century. During the Middle Ages and the Renaissance, women were not entitled to undergo any formal education and develop literacy skills except for those who belonged to the Church or were affiliated with the Court. But even those privileged ones exhibited their talent merely in traditional male genres; they had scarcely any female consciousness to speak of. In the seventeenth and eighteenth centuries, the reading population greatly increased because of improved standards of living, and women of the middle class could then take up writing as a profession and began writing at home. However, the conservative attitude of Puritans and the emphasis on the domestic role of women during the restructuring of the economic system "limited and confined their (the female writers') minds, as the bound feet of the Chinese women." In the nineteenth century, during the reign of Queen Victoria, feminism became more of an issue, but the great majority of women were still confined by law and custom within "the suppressed and private territory." During this period, nevertheless, many famous women writers emerged, such as The Bront'e sisters, Jane Austen, George Eliot, Elizabeth Browning, and Emily Dickinson. They either created or demonstrated "Byronic heroines" in the role of the "bad girl." This in fact advertised the prosperity and rich possibility of female discourse in the twentieth century. In contrast, China since its beginnings has ever been a male-dominated culture. Chinese traditions and ethics have always emphasized that women are inferior to men, "Man comes before woman, husband comes before wife." Moreover, women were never conscious about their position of slavery in their writings. Women are viewed not as human beings, but merely as the subjects of patriarchal discourse within a male-dominated economy. In such circumstances, the image of women in traditional Chinese literature is simplified into two opposing categories: they are either virtuous and chaste or poisonous and evil. There was no space for female discourse. Even if there were some famous talented women authors, their discourse was limited within the male literary tradition, and their works are mostly labeled as "worksof inner room" (implied weak and narrow vision). Rare is the female writer who is conscious of her position as a writing subject. Female literature in China did not appear until the New Literature Movement in the 1920's, and the rich development of female discourse has just started. When in 1942 Virginia Woolf proposed that a woman had to have stable income and a room of one's own before she could take up the profession of a writer, female discourse had already gone through a lengthy revolution and was about to bloom and harvest. |
本系統中英文摘要資訊取自各篇刊載內容。