| 摘要: | 中文摘要
青樓與閨閣文學在明末清初代表著女性文學的主流體系，她們在文化的銜接點上，扮演超越體制的藝術者，特別值得注意的是才女文化的演變。本論文試以當時的文化氛圍「男尊女卑」和「青樓與閨閣」失衡觀點的相關性，作為議題開端，述說同時期兩大才女的反差對照與互補關係。
名妓柳如是（1618－1664年）與閨媛徐燦（約1617－1698年）超越生命的貴賤榮辱，接受文藝洗禮踏出畫地自限的人生，其個人藝文修養的意圖歧異，各自進展，別出心裁。柳如是風塵不墮的理想憧憬，周旋在上流男性文士間，沾染高度的文藝氣息。她與男性文人搭唱的詩詞文學古典浪漫，吐故納新充溢著時尚，不過附庸在男權之下徒具美名的矛盾糾結，看出青樓文學以迎合男性為主調，應屬之男性文學。另觀徐燦權貴顯要的身份烘托，擁有女性作家群體與政治仕家的優越地位，以德養才，跨越家族地域性的文學氣勢，實歸之於名實相符典型的女性作家身分。兩位才女的生命史通過愛情與婚姻轉折，創造新的人生觀，鋪陳於文學作品分展其個人閱歷的心理跨越。
青樓享有與藝文劃上等號的名銜，在名士文人退出青樓後，青樓文學由盛轉衰，同時亦消退其藝術價值，閨閣文學代之而興，如此轉型的文學跨越開啟女性作品蜂擁而至的景象。特以兩者文學作品間異同處分類，闡述閨閣才媛實踐女性文學橫向與縱向的跨越性任務，證明女性性別意識抬頭，「男尊女卑」的思維改觀，女性文學成為獨立性語言的時代來臨。
關鍵詞：青樓、閨閣、文學跨越、柳如是、徐燦
;Abstract
Qinglou (brothel) literature and Guige (women’s chamber) literature are the mainstreams of female literature at the end of Ming Dynasty and the beginning of Qing Dynasty. In terms of cultural connection, they play the role of artists that transcend the system. The transformation of the female talent culture is especially worth our attention. In this study, I intend to start from the cultural atmosphere at that time, “Men are superior; women are inferior” and “Qinglou and Guige” to discuss about the connection between the imbalanced viewpoints and further make a contrast between the two major female talents at the same period of time to interpret their complementary relations.
The famous prostitute, Liu Ru-shi (1618-1664), and the chamber lady, Xu Can (1617-1698) transcend the pride and humiliation in the high and low social status and step out of the limitation in life through culture and art. Their individual cultural and artistic cultivation develops differently in diverse styles. Liu represents an ideal image, staying in the sex industry without being corrupt. She socializes with the upper-class males and refined scholars and cultivates the highly cultural and artistic temperament naturally. The poetic literature she composes with the male scholars is classic and romantic. It is fashionable with both ancient heritage and new meanings. Nevertheless, she is still subordinate to the male power, making the literary fame conflicting. The Qinglou literature is aimed to cater to the male, so it should be categorized into the male literature. On the other hand, Xu Can, with the noble and superior social status, belongs to the female writers’ group and a political family. Her virtue supports her talents, making her literary achievement further out of the limitation of family and area. She is a typical female writer with both fame and real ability. In their life, the two talented women experience the twists and turns of love and marriage and create their own philosophy of life. Their literary works reflect their personal experience and mental breakthrough.
Qinglou enjoys the title equivalent to art and culture. After the famous scholars retreat from Qinglou, Qinglou literature and its artistic value fades as well, and it is replaced by Guige literature. The transformation of the cross-category literature brings about the phenomenon that female writers’ works thrive. I have made a compare and contrast between the two types of literary works to interpret the horizontal and vertical cross-category mission of the talented women of Guige literature. In this way, I will prove that the female gender consciousness has risen, which breaks the traditional concept of “Men are superior; women are inferior.” The period of female literature becoming an independence language has come.
Keyword: Qinglou(brothel), Guige(women’s chamber), cross-category literature, Liu Ru-shi, Xu Can |
