从性别视角论《红楼梦》女性文化的“痴情”生命境界

<红楼梦>构建了一个以宝、黛为主所开展的女性文化的意义世界.在此意义世界中,展现了"痴情"的生命境界.小说在此深化了"痴情"的意涵,此中,从"情"出发的执迷、物我混融,进至忘我的生命境界,是小说刻意凸显的一个为世人所不解的意义世界.而此"痴情"的生命样态,终究要面对执迷对象物的归于幻灭,因此,从"痴情"而至"感伤"的生命情怀,便是必然的生命样态的发展.此种痴情而感伤的生命情怀,它是单以对象物的"审美性"的"兴发"与"感通"来作为全心挹注投入的重心.<红楼梦>作为一部女性文化的构建文本,它初步确立了一个大致的蓝图.我们在此文本中,也可就其中的代表人物身上,看到了女性文化的意义世界中的生命样态.此"痴情"而"感伤"的生命情怀,也可说是最具表征性的生命特色.

Spoony Compass of Female Culture in A Dream of Red Mansions from the Viewpoint of Gender

There is a meaning world of female culture in A Dream of Red Mansions, which take JIA Bao-yu and LIN Dai-yu as the main characters.In this meaning world, spoony compass and its connotation are embodied. The novel is very meticulous about the life compass of infatuation and self-denial, which are not understand by people. The result that the spoony objects are doomed to disappear lead the life style develop from infatuation to sadness. As a constructive version of female culture, A Dream of Red Mansions build up a blueprint, in which, especially the representative figures, we can know the life style in the meaning world of female culture. This kind of life feeling, spoony and sad, is the representative character of life.