题目：谁导演了这场爱情独白？
——中国古典爱情诗歌话语分析
专业：比较文学（上海外国语大学硕士学位论文）
作者：周汀
指导教师：任生名教授
时间：2003年
目 录
中文摘要
Abstract
引 言
第一章 中国古典爱情诗歌的纯明期
1． 1 诗经
1． 2 楚辞
第二章 中国古典爱情诗歌的定型期
2． 1 两汉
2．2 魏晋
2．3 南北朝
2．4 小结
第三章 中国古典诗歌的“女性化”现象
3．1 “女性化”现象的总结
3．2 “女性化”现象的话语解释
第四章 在文学话语周围
4．1 文学话语与性别话语
4．2 文学话语与政治话语
4．3 总结
结语：在文字的馨香国度里
参考文献
后记
中文摘要
本文拟采用比较文学的阐发学方法、跨学科研究和平行研究等方法，从话语生成的角度考察中国古典诗歌的一些问题。主要讨论中国古典爱情诗歌呈现出的不同于西方，不同于现代的一种“女性化”色彩。
引言部分从近代学者“中国古代无情诗”的论断开始，指出我们要讨论的并不是对中国古典诗歌的审美评价，而是把诗歌文本与作者、社会文化语境结合起来，将它们之间的联系视之为一种文化现象，从话语的生成角度展开我们的思考。
第一章：“中国古典爱情诗歌的纯明期”，主要描述了中国古典诗歌的两大源头《诗经》与《楚辞》中有关于爱情内容的部分所呈现的原初面貌，他们既是所有爱情诗歌的发轫处，又是我们比较的基础。第二章：“中国古典爱情诗歌的定型期”，以秦汉至南北朝为一历史的横断面，讨论了中央集权王朝的建立与崩溃中，男性知识分子群体的角色定位以及由此而塑型的文学话语的生成过程。从中我们可以发现，“女性化”现象确实存在，它有一个形成过程并在整个封建时代长期延续。
第三章：“中国古典爱情诗歌的‘女性化’现象”，试图讨论这一文化现象的根由，以米歇尔·福柯为代表的西方后现代结构主义的话语理论为我们提供了较为合适的理论工具。米歇尔·福柯赋予权力与话语之间全新的内涵，指出个体是权力的结果，文学问题必须结合社会文化机制来加以考虑。通过对集权王朝权力系统和中国知识分子在古代社会中所承担的角色的分析，我们初步认为“女性化”现象是中国古代知识分子一种集体的权力策略。
第四章：“在文学话语周围”，从权力影响下的诸种话语之间相互的关系出发，在“文学话语与性别话语”、“文学话语与政治话语”两个方面作具体的文本分析。通过深入分析，我们作出总结，中央集权的权力系统为爱情题材留下的空间既狭隘又隐晦，中国男性知识分子为了在权力机制中为自己寻求一个有利的平衡位置的努力是爱情诗歌“女性化”现象如此普遍的内在动因。
最后我们可以说，在中国古典爱情诗歌中，男性作者之所以经常地采用一位女性主人公独白的方式来创作爱情诗歌，而使作品蒙上了一层我们所谓的“女性化”色彩，是一场权力在权力场中寻找空间的游戏。
Abstract
This dissertation mainly observes such issues as the phenomena of ferminization in classical Chinese love poems from the discourse point of view .The methodology of comparative literature adopted here are illumination method, interdisciplinary and parallel studies.
In the introduction, my discussion begins from some criticism made by intellectuals of modem times that there are no love poems in ancient China. It seems radical, because China is widely respected for having a brilliant literature history over 5 thousand years, and how could the numerous poets say nothing about love? This is the question I try to answer in my papers. My conclusion is that ancient China does have love poems, but most of them show a character of so called "ferminization", which makes scholars are suspicion of the authors' true motives of writing these poems and think that these love poems have nothing to do with love.
Chapter 1: The virgin period of Chinese love poems shoots a glimpse at Chinese poetic tradition from the book of songs and the songs of the South. During a long time, man to the woman , woman to the man, all levels of the people sang their love songs freely. At the same time, some unfortunate and anxious administrators began to write one kind of love poems to ask for attention from kings and emperors, in which they compared themselves with woman lovers having lost their sweethearts and strongly wishing to win them back. This writing strategy deeply impressed the followers, who had a very similar fate in the ever-lasting autocratic systems. Chapter 2: The shaping period of Chinese classical love poems tells us the whole story from Han Dynasty through the folklore and palace-style poems of the Northern and the Southern Dynasties, especially emphasizing the ebbing and flowing influence of Confucianism.
It is just a section of the Chinese poetics history, but the poets' common choices in their writing make the ancient intellectuals' worry out. And in Chapter 3: The ferminization of the Chinese classical love poems, I make a summarization and call this cultural phenomena "ferminization", and then, I set off finding an explanation for it. The discourse theory of contemporary poststructurism, especially the work of Michel Foucault, serves a key to the settlement of it. Michel Foucault's idea about discourse and power has effectively changed the way in which we think of literature and its relation with social institutions, systems of power and the role of male writers in ancient society.
Chapter 4: Around the literature discourse offers some examples of text in two respects: the one is the combination of gender discourse and literature discourse, the other is that of politics discourse and literature discourse. By the analysis we find that authors of most classical love poems, male intellectuals and officials, held a complicated and ambiguous attitudes in order to attain a balanced position in the meshwork of power when they dealt with such themes as love.
We now come to the conclusion that the decisive factor, which makes male authors to choose monologues of a female protagonist in love poems, is power, probably unnoticed power, which produces the instruments of control within systems.
扫描：张小懿
