暨南学报(哲学社会科学版)

作者：柏英杰

单位：扬州大学文学院。

关键词：《桃花扇》,李香君形象,侯李因缘,符号性

基金：扬州大学一流学科项目“明清重大历史事件与小说理论及小说创作研究”(YZUXK202324)。

《桃花扇》中的李香君形象是一个精心塑造并巧妙运用的符号。作者塑造此形象,汲取了明代传奇的诸多经验,并对原型人物形象进行了多处改造。《桃花扇》运用符号意义的开放性,以她的天真善良为君子小人之辨代言,利用其妓女身份痛骂奸党,并赋予她“情”“欲”的象征意义。剧中张道士斩断侯李因缘,并非阻碍一般的男女情爱,寓意在于断绝士人过分膨胀的“情根欲种”。侯李当场分离与“传奇旧套”之间的冲突,揭示了个人与国家、“情”“欲”与“理”之间的深层联系。对李香君形象进行“符号性”分析,是对之前“爱国女杰”说、“性的符号”说和美国汉学家宇文所安、吕立亭的“身份认同”说的修正和发展,并显示出人物形象研究中丰富的文本阐释空间。"/>template{display:none;}.mag-rich-xref-fn { cursor: pointer;}//长视频$(document).ready(function(){if($("#showLongArticleVideo") && $("#showLongArticleVideo").length && $("#showLongArticleVideo").length>0){mag_ajax_update({ele_id:'showLongArticleVideo',url:mag_currentQikanUrl() + "/CN/article/showLongArticleVideo.do?id="+$("#articleId").val()});}});$(document).ready(function(){window.metaData = {"journal":{"issn":"1000-5072","qiKanMingCheng_CN":"暨南学报（哲学社会科学版）","id":2,"qiKanMingCheng_EN":"Jinan Journal"},"fundList_cn":["扬州大学一流学科项目“明清重大历史事件与小说理论及小说创作研究”(YZUXK202324)。"],"article":{"keywordList_cn":["《桃花扇》","李香君形象","侯李因缘","符号性"],"juan":"45","zhaiyao_cn":"《桃花扇》中的李香君形象是一个精心塑造并巧妙运用的符号。作者塑造此形象,汲取了明代传奇的诸多经验,并对原型人物形象进行了多处改造。《桃花扇》运用符号意义的开放性,以她的天真善良为君子小人之辨代言,利用其妓女身份痛骂奸党,并赋予她“情”“欲”的象征意义。剧中张道士斩断侯李因缘,并非阻碍一般的男女情爱,寓意在于断绝士人过分膨胀的“情根欲种”。侯李当场分离与“传奇旧套”之间的冲突,揭示了个人与国家、“情”“欲”与“理”之间的深层联系。对李香君形象进行“符号性”分析,是对之前“爱国女杰”说、“性的符号”说和美国汉学家宇文所安、吕立亭的“身份认同”说的修正和发展,并显示出人物形象研究中丰富的文本阐释空间。","endNoteUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/article/getTxtFile.do?fileType=EndNote&id=6845","reference":"","bibtexUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/article/getTxtFile.do?fileType=BibTeX&id=6845","abstractUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/10.11778/j.jnxb.20230701","qi":"11","id":6845,"nian":2023,"bianHao":"1700464937857-437086490","zuoZheEn_L":"BAI Yingjie","juanUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/Y2023","shouCiFaBuRiQi":"2023-11-20","qiShiYe":"24","qiUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/Y2023/V45/I11","lanMu_cn":"文学研究","pdfSize":"790","zuoZhe_CN":"柏英杰","risUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/article/getTxtFile.do?fileType=Ris&id=6845","title_cn":"一个完美符号的生成:《桃花扇》李香君形象新论","doi":"10.11778/j.jnxb.20230701","jieShuYe":"34","keywordList_en":["The Peach Blossom Fan","Li Xiangjun image","Hou and Li's romance","symbolism"],"endNoteUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/article/getTxtFile.do?fileType=EndNote&id=6845","zhaiyao_en":"Li Xiangjun is one of the most important female characters in Chinese opera in The Peach Blossom Fan. There are three theories in the study of Li Xiangjun's image, namely the mainstream “patriotic female hero” theory, the “symbol of sex” theory, and the “identity” theory of American sinologists Stephen Owen and Tina Lu. Both the “patriotic female hero” theory and the “identity” theory value the “human nature” and “character will” embodied in Li Xiangjun's image, neglecting its “symbolicity” and “author's will”. In the theory of “sexual symbols”, the interpretation of Li Xiangjun's “symbolism” is limited to the relationship between sex and political struggle, and has not yet been fully explained. In terms of the essence of the character images in the text and the “fable” characteristics of legendary opera, the image of Li Xiangjun should be regarded as a symbol.This article starts from the “symbolism” of the image of Li Xiangjun, and explores the unique conception and profound ideas in this image from three aspects: Dan character, identity, and symbol. The first part extends the textual research approach of the theory of the “patriotic heroine” and discusses the fact that the image of Li Xiangjun is different from the four common types of Dan characters in legendary historical dramas. It not only has its character prototype, but also extensively draws on the protagonist image characteristics of romantic dramas, immortal dramas, historical dramas, and ethical dramas. In order to use this image as a spokesperson for the distinction between gentlemen and villains, the author modified the prototype character's name and personality, and set up the “Peach Blossom Fan” as her identity symbol. Against the backdrop of the symbol, Li Xiangjun's image embodies a unique spirit of both chastity and charm. The second part inherits the “identity” perspective of the “identity” theory. However, from the perspective of “author's will”, this part argues that The Peach Blossom Fan inherits the “cursing technique” from Hou Fangyu's Answering to Tian Zhongcheng, and uses Li Xiangjun's prostitute identity to curse Ma and Ruan's wicked clique. Li Xiangjun's “victory” over Ma and Ruan's wicked clique played an important role in balancing the proportion of justice's victory and defeat and regulating the atmosphere of the entire drama. The third part develops the theory of “sexual symbols”, and argues that the “love of separation” in the play is not an independent theme, but an auxiliary and supplementary aspect of the “sense of rise and fall”. The Peach Blossom Fan uses the imagery of Hou Li's “wedding” and the Tiantai “Peach Blossom Land” to point out that the relationship between Hou and Li is full of “emotion” and “desire”, and in the play, the emperor is captured, making it difficult for the two of them to follow the common “routine” of the emperor's given marriage in the legend. Taoist priest Zhang's cutting off Hou and Li's Romance did not hinder the normal union between couples, but symbolized the severing of the “emotions” and “desires” of scholars. Through this unconventional ending, the author reveals that the main reason for the downfall of the country in the drama is the excessive pursuit of “emotions” and “desires” by scholars, neglecting the normal satisfaction of the country for “emotions” and “desires”, ultimately making the individual fail to realize the “emotions” and “desires”.Finally, this article believes that Li Xiangjun's “symbolism” reflects the text's application of symbols beyond as “emblem” and “instrument”, as well as the creative inheritance of previous texts. It also fully utilizes the combination relationship between symbols, which has important enlightening significance for us to break through the “human nature” of interpreting character images, and expand the broader space for text interpretation.","bibtexUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/article/getTxtFile.do?fileType=BibTeX&id=6845","abstractUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/10.11778/j.jnxb.20230701","zuoZheCn_L":"柏英杰","juanUrl_cn":"https://jnxb.jnu.edu.cn/skb/CN/Y2023","lanMu_en":"","qiUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/Y2023/V45/I11","zuoZhe_EN":"BAI Yingjie","risUrl_en":"https://jnxb.jnu.edu.cn/skb/EN/article/getTxtFile.do?fileType=Ris&id=6845","title_en":"The Production of a Perfect Symbol: A New Study on Li Xiangjun in Peach Blossom Fan","hasPdf":"true"},"authorNotes_cn":["柏英杰,扬州大学文学院。"]};if(window.metaData && (!window.metaData.authorNotesCommon_cn && !window.metaData.authorNotesCorresp_cn && window.metaData.authorNotes_cn)){window.metaData.authorNotesCommon_cn = window.metaData.authorNotes_cn;}if(window.metaData && (!window.metaData.authorNotesCommon_en && !window.metaData.authorNotesCorresp_en && window.metaData.authorNotes_en)){window.metaData.authorNotesCommon_en = window.metaData.authorNotes_en;}var _nlmdtdXml = $("#article_nlmdtdXml").val();var magDir = _nlmdtdXml.replace(/\/[^\/]+$/,'');window.metaData.magDir = magDir;new mag_vue({ el: '#metaVue', //dataUrl: mag_currentQikanUrl() + '/EN/article/getRichHtmlJson.do?articleId='+$("#articleId").val(), data:window.metaData, loading:true, doTextFun:function(text){ return doDataJsonText(text); 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来源：2023年第11期

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