張竹坡在〈雜錄小引〉中對「立架」作過專門論述，從中可以看出他所說的「立架」就是作者對於小說中空間結構的安排與佈局。在全書的批點過程中，張竹坡更是再三提醒讀者注意小說的空間結構，要求讀者從空間結構關照小說的脈絡，因此，從空間切入將使我們更清楚掌握小說組織型態。首先以西門府為出發點，研究人物以府內人物為主，府外人物為輔，分章節來探討小說空間書寫中的性別權力關係。而以西門慶大宅第的居室空間為例，分別舉了廳堂、廂房及書齋，藉此說明不同身分、經歷的女子們在家族聚會、賓客酒宴時的權力關係。接著，探討和密閉起居空間相對的後花園，後花園的半開放性或全開放性展示與滿足了世情的窺探，空間的多變化性也使得情欲的逾越增加了人情世態的糾葛、性別權力關係的複雜。又西門宅院不可能完全隔絕外面世界，進一步討論西門宅院外的空間與性別權力的關係，看這些煙花柳巷的青樓女子、尋常人家、貴婦如何在有限的環境中延伸無限的空間可能？最後，因為圖像與文字的媒介不同，前人又指出《金瓶梅》繡像畫工不僅僅是單純依回目作畫，而是有意識的再詮釋、再創造，所以，再獨立一章節探討繡像空間與隱喻性別權力。 / Zhang Zhu-Po has specific statements about “architecture” in the <Za Lu Xiao Yin >, what he said about “architecture” is the arrangement and deployment of space by the author in the novel. In the whole commentary, Zhang Zhu-Po reminds readers repeatedly to pay attention to spatial architecture of the novel, and request readers to see the layout of the novel from spatial architecture. Therefore, we could deal with the organization of this novel clearly if we approach from space view. Firstly, starting from Ximen Mansion, characters inside building lead and ones outside building assist, discuss the relationship between sex and power by segmenting the chapter and section. Take the space of rooms in Ximen Mansion for example, including living room, bedroom and reading room, to demonstrate the power relations with different status and experience women in the family party and banquet. Secondly, explore garden which is relative to closed living room. Semi-open or fully-open garden satisfy the prying eye of the human beings. The variety of space makes lust go beyond and increase the complex entanglements of the way of the world and gender power relations. Besides, Ximen Mansion could not completely cut off from the outside world, further discuss outside the Ximen Mansion and gender power relations to see the red-light district of brothel women and ordinary people and how the Lady extends infinitely in a limited environment space possible? Finally, because images and text are different media, previous people pointed out that “Jing Ping Mei” engraving people not simply only engrave by chapters but conscious reinterpretation and recreation, so one independent chapter explore it.
| Identifer | oai:union.ndltd.org:CHENGCHI/G0099912012 |
| Creators | 賴彥伶, Lai, Yan Ling |
| Publisher | 國立政治大學 |
| Source Sets | National Chengchi University Libraries |
| Language | 中文 |
| Detected Language | English |
| Type | text |
| Rights | Copyright © nccu library on behalf of the copyright holders |
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