《吴吴山三妇合评牡丹亭还魂记》与 《才子牡丹亭》之女性文人意识 = The female literati's consciousness in 'The Three Wives of Wu Wushan's Commentary on The Peony Pavilion' and 'Talent One's Version of The Peony Pavilion'

• Main Author: 黄曼君 Low, Yanling
• Other Authors: Crossland-Guo Shuyun
• Format: Final Year Project
• Language: Chinese
• Published: 2010
• Subjects: DRNTU::Humanities::Literature::Chinese
• Online Access: http://hdl.handle.net/10356/21165
• Institution: Nanyang Technological University

汤显祖创作于明代的《牡丹亭》作为一部经典戏曲作品在明清两代十分受到闺 阁女性的欢迎，随着此剧的风行，明清女性通过评点抒发她们对《牡丹亭》的喜爱。 其中在清代出版，以夫妻合力评点、刊刻的形式创作的《吴吴山三妇合评牡丹亭还 魂记》与《才子牡丹亭》是两部显著的例子。其中展现的“女性文人意识”是它们得 以出版的重要元素。 The Peony Pavilion, written by Tang Xianzu of the late-Ming was very popular among the well-bred females in the Ming-Qing era and these Ming-qing women expressed their passion in this classic musical drama by penning down commentaries on the script. Published during the Qing era, with the contribution of both husband and wife in the process, The Three Wives of Wu Wushan's Commentary on The Peony Pavilion and Talent One's Version of The Peony Pavilion were two of the most prominent examples. What propelled their publication, is the “Female Literati's Consciousness” revealed in their works. My article analyzes this consciousness of these two texts in three aspects: 1. Rational Consciousness, 2. revolutionary and critical interpretations of text, and 3. concern for the female population, combined with the commentators' mentality of being a marginalized female literati, and how it forms the main driving force for them to publish their works in the male-dominated field of drama criticism.