摘要
作为《牡丹亭》的女性批评者,吴吴山三妇的批评与男性作者及男性批评者对《牡丹亭》有着不同的认识和理解,以女性读者与批评者的身份和眼光,在肯定女主角杜丽娘作为"情"的代表的同时,更强调男主角柳梦梅在"情"与"理"的抗争中的作用与地位,认为柳梦梅与杜丽娘一样,也是"情"的代表人物。在对剧作的结构、语言和人物形象的塑造等艺术手法的批点上,三妇也表现出了女性批评者细腻独到的见解。
As female critics of the Peony Pavilion, the comments of Wu Wushan’ s three wives include different un-derstandings from male critics. From the perspectives of women readers and critics, the three wives affirm the heroine Du Liniang as the the representative of“love”, and emphasize Liu Mengmei’ s role and status in the struggle between“sensibility” and “sense”. They consider Liu Mengmei as the representative of “love” just the same as Du Liniang. As to the comments on the structure, language and the portrait of characters in the play and other artistic practices, the three wives also show the delicate insights of female critics.
出处
《浙江艺术职业学院学报》
2015年第2期1-7,共7页
Journal of Zhejiang Vocational Academy of Art
基金
2013年度江苏省社科基金重大项目<江苏戏曲文化史研究>的阶段性成果。(项目编号:13ZD008)
关键词
《吴吴山三妇合评牡丹亭还魂记》
女性批评者
非必求合古人
Wu Wushan’s Three Wives Commenting on the Peony Pavilion
female critics
not conforming to former critics
