完整後設資料紀錄
| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.author | 紀俊龍 | |
| dc.contributor.other | Chun-Lung Chi | |
| dc.date.accessioned | 2020-08-25T06:58:36Z | - |
| dc.date.available | 2020-08-25T06:58:36Z | - |
| dc.date.issued | 2012/10/19 | |
| dc.identifier.issn | 1682-587N | |
| dc.identifier.uri | http://dspace.fcu.edu.tw/handle/2376/2460 | - |
| dc.description.abstract | 本文嘗試以女性自覺意識的分析視角為出發點，考察李行道的《灰闌記》與關漢卿的《救風塵》兩齣元雜劇。選擇二劇相互比較的原因有兩點：第一，兩劇都是以妓女為主角的旦本戲，同樣反映了從良妓女走入家庭的坎凜命運；第二，兩劇女主角皆為依藉著他人的從旁協助，以獲致生命困境的轉圜。透過對二劇中女性自覺意識的釐析探究，發現《灰闌記》中的張海棠，從掙脫妓女身分到遭受誣陷，再至被包公激迸出母愛自覺的過程中，表現了一種消極被動的，朝向女性_x000D_ 意識自覺醒悟的方向邁進；《救風塵》裏的宋引章與趙盼兒，藉由對周舍暴虐的牴牾，展演出一種積極主動、以柔克剛的女性自覺呈現，進而彰顯出在同樣困境的共相裡，不同女性自覺意識的殊相。同時，以此為基礎，嘗試呈現元代文人創作雜劇時的心理投射，及對於當時社會景象的回應。 | |
| dc.description.sponsorship | 逢甲大學 | |
| dc.format.extent | 22 | |
| dc.language.iso | 中文 | |
| dc.relation.ispartofseries | 逢甲人文社會學報 | |
| dc.relation.isversionof | 第十一期 | |
| dc.subject | 元雜劇 | |
| dc.subject | 灰闌記 | |
| dc.subject | 救風塵 | |
| dc.subject | 女性自覺 | |
| dc.subject.other | Yuan-drama | |
| dc.subject.other | Hui-Lan Chi | |
| dc.subject.other | The Rescue of a Courtesan | |
| dc.subject.other | Female self-awareness | |
| dc.title | 試論元雜劇中的女性自覺意識 －以《灰闌記》與《救風塵》為例 | |
| dc.title.alternative | Female Self-Awareness Implied in the Two Plays of the Yuan Dynasty—Hui Lan Chi and The Rescue of a Couretesan | |
| dc.type | 期刊篇目 | |
| dc.description.translationabstract | This research paper attempts to analyze female self-awareness in the two plays of the Yuan Dynasty—Hui-Lan Chi by Hsin-Dao Lee and The Rescue of a Courtesan by Han-Chin Gwan. The main reason for the comparison and contrast of these two plays is the resemblances between the fates of the two leading female characters of the plays. First , they both suffer their doomed miserable life from being prostitutes to being housewives. Besides, both of them are assisted by others so as to get away from their difficult lives. From the researcher’s digging up of the female self-awareness in Hui-Lan Chi, we are able to realize that Hai-Tang Chang represents a particular type _x000D_ of passive female self-awareness through her struggling and spiritual torturing. On the other hand, Ing-Chang Song and Pan-Ern Chao in The Rescue of a Courtesan do show their active female self-awareness. Based on such an understanding, this research paper has also presented the reflection of the playwrights’ mental states as well as their personal responses to the contemporary society in the Yuan Dynasty. | |
| 分類: | 第11期 | |
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