摘要
从女权主义的角度看,"文革文学"中的"样板戏"无疑是人类文明史上两性话语权力交锋中不可多得的另类版本。"样板戏"大多以女性作为剧中的主人公或主要英雄人物,但她们身上却缺少真实女性应有的性别色彩。这一女性革命神话虽然表面上改变了女性的从属地位,但却并没有改变女性作为"他者"的历史命运。"革命"只是在形式上解放了女性,然后又通过"去性"及"花木兰化"的方式把女性重新约束在以"革命"来命名的男权话语之中。这一"样板戏"叙事模式,在看似抬高女性的革命言说中其实不自觉地潜隐着男性话语霸权。
Viewing from the angle of feminism, 'model Beijing opera' is undoubtedly a rare other-kind version of bisex discourse confrontation in human history of civilization. Most 'model Beijing opera' had females as protagonists or main heroic figures. But they lacked in them the proper sex tinge of genuine females. Though this female revolution myth superficially changed the sabordinate status of females, yet it didn't alter the historical destiny of females as 'the other'. Revolution emancipated females in form, and then, by means of 'desexualization' and 'making them Hua Mulans' re-restricted them, in the name of 'revolution', in man-right discourse. This mode of 'model Beijing opera' narration unconsciously hid male discourse hegemony in its seemingly revolutionary speech to elevate females.
出处
《江汉大学学报（人文科学版）》
2004年第1期43-47,共5页
Journal of Wuhan Institute of Education
关键词
样板戏
女权主义
文化大革命时期
中国
芭蕾舞剧
京剧
cultural revolution literature
model Beijing opera
feminism
meditation light of 'the other
