2014年文學(xué)專業(yè)外文翻譯--內(nèi)在的顛覆蒲松齡《聊齋志異》中女鬼的力量（節(jié)選）

1、<p>　　中文3300字,1880英文單詞，9900英文字符</p><p>　　文獻(xiàn)出處：Liu F. Subversion from within: Power of Supernatural Female in Pu Songling’s Liaozhai Zhiyi1[J]. Quarterly JOURNAL OF CHINESE STUDIES,2014,2 (3),67-85</p

2、><p>　　Subversion from within: Power of Supernatural Female in Pu Songling’s Liaozhai Zhiyi</p><p>　　Feiying Liu</p><p>　　Studies on Pu Songling’sLiaozhaiZhiyi so far have yielded cons

3、iderableargumentson the domes- tication (or humanization) of the supernatural females in his metamorphosis narrative, a process through which the alien power of these supernatural females is eventually assimilated into t

4、he patriarchal society of human world. However, through a close reading of Pu’s metamorphosis nar- rative, I argue that supernaturalfemales continue to constitute a subversive force even after they have been domesticat&l

5、t;/p><p>　　Keywords: redeployment, subversion, grand narrative, private narrative</p><p>　　PARODIC REDEPLOYMENT OF PATRIARCHAL DISCOURSE</p><p>　　Although women are traditionally viewe

6、d as vulnerable groups that are normally more inclined to be exposed to oppression, tangible or intangible, they are not completely silent recipients of injustice, but subjects with agency who are able to proactively red

7、eploy the dominant discourses over femininity. Despite the fact that under the patriarchal circumstances, they cannot afford to be litigious, they manage to transform that law to make the most of it. As Judith Butler wou

8、ld suggest, power can </p><p>　　Research on Pu’s metamorphosis stories has paid scant attention to the female bondings by which female powers are awakened and enhanced. While it is an apparent fact that the

9、male bondings constitute a main source of women’s oppression, women’s power is not entirely paralyzed by this heterogeneous joint force; the often neglected female bondings, although as a marginal force, may also pose de

10、stabilizing power unto the male-centered culture. With the following metamorphosis stories, I will examin</p><p>　　The female fox spirit in the story of “Hengniang” (Pu, 1992, p. 1418) serves as a perfect ex

11、ample to start this discussion. Hengniang (the fox spirit)is the first wife of a mercer.Although plain-looking, she somehow manages to enjoy her husband’s full attention, and thus keeps her husband away from his concubin

12、e who is much younger and more beautiful than her.2Hengniang’s mysterious charm greatly intrigues the interest of Ms. Zhu, Hengniang’s new neighbor who is suffering from her husband’s long</p><p>　　In this s

13、tory, the women’s alliance between Hengniang and Ms. Zhu is the locus where one woman’s knowledge of thepatriarchal law is transmitted to another as a weapon that can be later transformed into part of female power. In ot

14、her words, the female bonding established in this alliance constitutes a force that is alien to the patriarchal law.</p><p>　　At the first sight, Hengniang’s strategy is rather disappointing, because what sh

15、e offers is nothing new but going back to the old role of a submissive wife, obeying all those wifely virtues, being unconditionally hard-working, less complaining, staying in the inner quarters and turning a blind eye t

16、o her husband’s love affairs. However what is interesting about this returning is that all these compromises Ms. Zhu makes are compromises that are knowingly and strategically made, whose ultimate en</p><p>

17、　　If going back to the role of a devoted wife is the whole story, then the meaning of this parodic redeployment in this story is less subversive by a lot. As a matter of fact, the most creative part and true power of Hen

18、gniang’s redeployment of patriarchal discourse lies in her consciously combining different roles of women (roles that are imposed onto women by the male-centered society) in one figure. Rather than teaching Ms. Zhu to pl

19、ay passively the role of traditional devoted wife, Hengniang r</p><p>　　To some extent, most of the supernatural femalesthat have been either actually married to human males or simply fallen in love with the

20、m in Pu’s metamorphosis narrative,naturally play this dual rule due to their special identity. In other words, their supernaturality grants them an innate dual role. For one thing, they are humanized and domesticated wiv

21、es (or lovers) that would unconditionally offer their help in their husbands’(or lovers’) career and life; for another; they are distinguished fr</p><p>　　InPu’s metamorphosis narrative, the multiplicity of

22、supernatural women’s role can be well identified in their relationship with their human lovers. To be precise, many metamorphosis stories show the relationship between man and woman is more complicated than simply being

23、lovers.</p><p>　　In Yingning, the fox spirit Yingning and Wang Zifu are husband and wife, yet Yingning first interprets their relation as sister and brother. Yingning prefers to ad- dress Wang Zifu as ‘big b

24、rother’ or a ‘close relative’ when Wang first comes to visit her, and she describes their relationship as jiafuzhiqing, indicating that they are connected to each other as relatives in the first place, even during the m

25、oment she realizes Wang Zifu intends to take her as his wife(Pu, 1992, pp. 150-59). </p><p>　　In NieXiaoqian, the female ghost NieXiaoqian also treats NingCaichen as brother even after they sleep in the same

26、 bed(Pu pp.160-66).After NingCaichen revives her, Xiaoqian insists to stay with him and his family. Since Ning’s mother does not fancy the idea of having a ghost daughter-in-law, she proposes to serve Ning as his sister.

27、 In many other stories, the romance between the male and supernatural female is facilitated by the female playing the role of her lover’s life savior.</p><p>　　內(nèi)在的顛覆：蒲松齡《聊齋志異》中女鬼的力量</p><p>　　對(duì)蒲松

28、齡《聊齋志異》的研究迄今為止已出現(xiàn)了很多有關(guān)馴化（人性化）變身描述中的女鬼的爭(zhēng)論。通過(guò)這個(gè)變身過(guò)程，女鬼的超能力最終同化進(jìn)男權(quán)社會(huì)的人類世界中。然而，通過(guò)仔細(xì)閱讀蒲松齡的變身描述，我認(rèn)為即便在被馴化后，女鬼依舊構(gòu)成一種破壞力。雖然按照宗法秩序的關(guān)系結(jié)構(gòu)來(lái)說(shuō)，婦女在這個(gè)結(jié)構(gòu)中并不是完全被動(dòng)和無(wú)力的。無(wú)力超越男權(quán)社會(huì)法則的她們總會(huì)設(shè)法通過(guò)各種方式在那個(gè)秩序里生存下來(lái)。事實(shí)上，通過(guò)含蓄地重新部署并將這些法則變得對(duì)女性有利，女性對(duì)這些法則還是能

29、構(gòu)成一種深遠(yuǎn)威脅的，從而反過(guò)來(lái)給她們以力量。因此，真正的破壞不是來(lái)自超自然力，而恰恰是來(lái)自內(nèi)部。對(duì)這些擁有超能力女人們的個(gè)人努力以及她們各自的婚姻形式做了一個(gè)梳理，本論文的目的是探討出這些女人是如何積極主動(dòng)地對(duì)男權(quán)社會(huì)構(gòu)成一個(gè)永久威脅的。</p><p>　　關(guān)鍵詞：重新部署、顛覆、宏大敘事、私人化敘事</p><p>　　模仿男權(quán)社會(huì)的重新調(diào)度</p><p>　

30、　雖然從傳統(tǒng)角度來(lái)說(shuō)，女性通常都被認(rèn)為是弱勢(shì)群體，更容易受到壓迫，不管是有形的或無(wú)形的。但她們并不是接受不公平的完全沉默的受體，而是具有力量的主體。她們有能力主動(dòng)地重新部署凌駕于女性之上的強(qiáng)勢(shì)話語(yǔ)。盡管存在這樣一個(gè)事實(shí)，即在男權(quán)社會(huì)的環(huán)境中，她們要扮演一個(gè)賢妻良母的角色，但她們可以設(shè)法轉(zhuǎn)換那種教條，從而更好地利用它。正如朱迪斯?巴特勒所說(shuō)，權(quán)利是拿不走也拒絕不掉的，而只能被重新部署。一種真正的破壞力只能通過(guò)“模仿權(quán)利的重新調(diào)度來(lái)獲取，而

31、不是立足于超自然的不可能的幻想上”(巴特勒1990,p.124).換句話說(shuō)，正如她在《性別麻煩》其他篇章所說(shuō)的那樣，“如果顛覆是可能的，那么它將是一種來(lái)自法律范圍內(nèi)的顛覆，當(dāng)法律變得違背其自身并產(chǎn)生其自身的不可預(yù)期的排列之時(shí)所出現(xiàn)的可能性，通過(guò)這種可能性來(lái)實(shí)現(xiàn)這種顛覆。”(巴特勒，1990,p.93)從這層意義來(lái)說(shuō)，其恰恰是南茜?弗雷澤所總結(jié)的觀點(diǎn)，即巴勒特主張“文化構(gòu)建的主題也可以是一個(gè)批評(píng)性主題”（貝哈鮑比等人，1995,p.69)

32、是正確的。他們（女人）也能擁有改寫圣經(jīng)的“關(guān)鍵能力”。然而，值得注意的是，重新調(diào)度產(chǎn)生的這個(gè)力量，不存在普遍形式。其能以不</p><p>　　對(duì)蒲松齡的變身故事的研究對(duì)女性同盟的關(guān)注不夠，而女權(quán)意識(shí)正是通過(guò)這個(gè)女性同盟被喚醒和增強(qiáng)。雖然這是一個(gè)明顯的事實(shí)，即男性同盟是女性受壓迫的一個(gè)主要來(lái)源，但女權(quán)未被這個(gè)多樣化的連接力完全的無(wú)力化；經(jīng)常被忽略的女性同盟，雖作為一種邊緣力，但可能也對(duì)以男性為中心的文化施加了減穩(wěn)

33、力。通過(guò)下列的變身故事，我將分析女性在婚姻中如何提高自我女權(quán)意識(shí)，以確保一個(gè)更加滿意的在那個(gè)結(jié)構(gòu)中可能被允許的地位。</p><p>　　《恒娘》（蒲松齡，1992,p.1148)中的女狐仙是開始這個(gè)探討的最佳例子。恒娘（狐仙）是綢緞商的發(fā)妻。雖相貌平平，她卻總能設(shè)法得到丈夫的專寵，并因此使丈夫疏遠(yuǎn)比她年輕漂亮的小妾。2恒娘的神秘魅力激起了朱氏極大的好奇心。她是恒娘的新鄰居，因?yàn)樾℃脑蛩L(zhǎng)期受到丈夫的冷落，雖

34、然她比小妾貌美([妾]貌遠(yuǎn)遜朱)。帶著希望丈夫回心轉(zhuǎn)意的極大渴望，朱氏向恒娘求經(jīng)，問(wèn)恒娘到底擁有何種魅力能讓丈夫疏遠(yuǎn)按理說(shuō)更惹人愛的小妾。恒娘泰然自若地回答說(shuō)，忽略朱氏不是她丈夫的錯(cuò)，相反，朱氏才是使她丈夫遠(yuǎn)離她的那個(gè)罪魁禍?zhǔn)?。這就表明，他們夫妻之間的關(guān)系是受到她的掌控的。然后，恒娘想出了一個(gè)幫助朱氏走出困境的計(jì)劃。第一階段，恒娘讓朱氏停止插手她丈夫的行動(dòng)，而且如果丈夫來(lái)拜訪她，也要故意拒絕他。朱氏按照計(jì)劃照做了；她允許丈夫更多的時(shí)間是

35、同小妾在一起，而且當(dāng)他敷衍地想要履行丈夫的職責(zé)時(shí)她毅然地拒絕了。不久之后，整個(gè)家庭對(duì)她的看法都改變了，認(rèn)為她是一個(gè)賢妻（共稱朱氏賢)。一個(gè)月后，當(dāng)朱氏把這些告訴恒娘時(shí)，恒娘認(rèn)為這是一個(gè)好的信號(hào)，并鼓勵(lì)她下一步要不施粉黛并且勤勉地操持家務(wù)。與預(yù)想的一樣，朱氏致力于家務(wù)活這一點(diǎn)激起了丈</p><p>　　在這個(gè)故事中，恒娘與其鄰居朱氏組成婦女聯(lián)盟，將一個(gè)女人在父權(quán)社會(huì)下法律知識(shí)傳授給另一個(gè)女人作為武器，這后來(lái)變成了

36、女性力量的一部分。換句話說(shuō)，女性建立聯(lián)盟構(gòu)成了與父權(quán)社會(huì)的法律不相容的一股力量。</p><p>　　乍看去，恒娘的策略是相當(dāng)令人失望的，因?yàn)樗峁┝瞬⒉皇鞘裁葱抡袛?shù)，只是讓其回到原始的角色做一名順從的妻子：堅(jiān)守為人妻的美德，不抱怨并無(wú)條件地勤奮，且保持內(nèi)心的寧?kù)o和無(wú)視丈夫的愛情。然而有趣的是，關(guān)于這個(gè)返回策略，所有這些妥協(xié)都是朱氏故意設(shè)計(jì)的策略，其終極目的絕不是簡(jiǎn)單地在傳統(tǒng)意義上做一個(gè)成功的妻子，而是從社會(huì)中滿

37、足她的欲望，或者社會(huì)可以并且應(yīng)該提供給她作為一個(gè)女人的地位。從這個(gè)意義上說(shuō)，朱氏和恒娘都在執(zhí)行對(duì)父權(quán)話語(yǔ)的重新部署，借此來(lái)獲得一個(gè)真正的顛覆性力量。這不僅是女性被男權(quán)法律操縱，而且當(dāng)女性積極部署時(shí)男性也同樣的被操控。</p><p>　　如果整個(gè)故事只是關(guān)于一個(gè)忠實(shí)的妻子的追溯，那么故事中的模仿與替換就沒那么有顛覆性了。事實(shí)上，在父權(quán)社會(huì)中恒娘代表著最具有創(chuàng)意和最具有真實(shí)力量的部分，她將不同女性角色結(jié)合于一身，而

38、這些角色是男性社會(huì)強(qiáng)加在女性身上的。與其讓朱氏投入順從的傳統(tǒng)妻子的角色，恒娘重新將朱氏的角色定義為即是妻子也是情人。一方面，朱氏堅(jiān)守傳統(tǒng)妻子的美德；另一方面，她希望獲得一些才能，例如之前屬于情婦的有限的接近權(quán)。正如恒娘在故事的結(jié)尾處指出，通常情況下，丈夫更喜歡他的情婦而不是妻子，不是因?yàn)榍閶D很漂亮，僅僅只是她不是妻子這個(gè)理所當(dāng)然的角色。甘其所乍獲，而幸其所難遘也。這便使得她成為一個(gè)完美和受歡迎的挑戰(zhàn)，借此證明男人的力量以及更好地去確認(rèn)作

39、為一個(gè)男人的權(quán)利。因此，通過(guò)在同一時(shí)間內(nèi)扮演兩個(gè)角色，朱氏在家庭的地位也得到雙重保護(hù)。她既是不可輕得的妻子，也是非常吸引人的情婦。</p><p>　　在一定程度上，對(duì)于嫁給男性或是愛上蒲松齡的聊齋故事中的男人的大多數(shù)超自然女性而言，因?yàn)樗齻兊奶厥馍矸?，她們?huì)很自然的扮演著雙重角色。換句話說(shuō)，她們的超自然性保證了她們天生的雙重角色。一方面，她們像賢惠溫柔的妻子或情人一樣，為她們的丈夫或愛人提供無(wú)限的幫助。在另一方

40、面，因?yàn)樗齻兲焐某匀惶匦?，她們有別于傳統(tǒng)的角色，讓人可望而不可及。這樣一個(gè)多樣性，既可用又稀有，自動(dòng)將父權(quán)社會(huì)中的不同角色賦予到女性身上。通過(guò)扮演這種雙重角色，從而迎合男權(quán)社會(huì)中男性的需求及其產(chǎn)生的幻想，這些超自然的女性便獲得了更廣闊的空間和在人類社會(huì)中更多的自由。因?yàn)檫@種雙重角色不僅守住了封建禮儀，而且整個(gè)安排在兩個(gè)極端之間。因此，除了這些超自然的女性所具有的超自然的特性，更真實(shí)的力量在于他們將多個(gè)角色集中在一起，使得她們更適應(yīng)男

41、性的幻想，而不是以被動(dòng)的方式，但是這種方式增加了男人對(duì)特定女人的依賴性。在這種情況下，在男權(quán)社會(huì)中對(duì)于女性，計(jì)劃策略的力量及模仿多個(gè)角色的力量并非主要靠自我釋放，而是靠他人誘捕。</p><p>　　在蒲松齡的聊齋中敘述道，超自然的女性角色的多重性可以很好地鑒定她們與人類追求者的關(guān)系。確切地講，許多虛構(gòu)故事闡述的是男人與女人的關(guān)系而不僅僅是成為有情人。</p><p>　　在《嬰寧》這個(gè)故

42、事中，狐貍精嬰寧與王子服是夫妻，然而嬰寧起初描述他們的關(guān)系是兄妹。當(dāng)王子服第一次去嬰寧時(shí)，她稱王子服為大哥或者一個(gè)至親，她把這種關(guān)系當(dāng)成葭莩之情，表明他們一開始是以親戚關(guān)系互相來(lái)往，甚至到她意識(shí)到王子服打算把自己當(dāng)成妻子之時(shí)。（蒲，1992,pp.150-59)。</p><p>　　在聶小倩這個(gè)故事中，這個(gè)女鬼聶小倩在與寧釆臣同睡一張床后還將其當(dāng)成哥哥。（蒲pp.160-66)。在寧釆臣使聶小倩復(fù)活后，小倩堅(jiān)持