臺灣博碩士論文加值系統

《霸王別姬》原是一齣虞姬為表其對四面楚歌的霸王從一而終之心，拔劍自刎的京戲，但該戲為作者李碧華與導演陳凱歌所挪用，使扮演虞姬一角的蝶衣最後只忠於自己。
蝶衣幼時被他當妓女的母親送進梨園當京劇學徒，在那裡他被迫扮演女人的角色，因為他的師父認為他具有這方面的「潛能」。蝶衣後來因扮演虞姬維妙維肖而成名，以致他將虞姬當成自己，並愛上扮演霸王的師兄小樓。
相對於蝶衣，小樓是一個可清楚分辨台上表演與台下生活的具有英雄氣概的男子。他娶了一個青樓女子菊仙，其出現對蝶衣以及他與小樓之間的師兄弟關係造成莫大的威脅。在從一而終的信念下，一段三角關係於焉展開，卻因背叛而結束。最後，蝶衣終能認清這不過是一齣戲罷了，「燦爛的悲劇已然結束」，「華麗的情死只是假象」。
從這三人身上，我們可以發現文化的力量在運作著。蝶衣是一個想要學習陰柔的男人，小樓是一個想要學習英雄氣概的男人，菊仙則是一個想要學習從一而終的青樓女子。他們的角色模範皆是由男人依儒家禮教的系統所創造出來，而此系統則可能源自於自然界與兒時經驗。本論文試圖先找出文化挪用自然事物的模式，然後檢視文化如何在男孩的成年之路上發揮影響力，最後分析文化如何限制與排斥女人和酷兒(queer)。
中國自稱禮儀之邦，其以禮為本的系統，主要由三個層次的人所構成：位於中心的男性領袖、組成主體的男人團體以及位於邊陲的女人與酷兒；並依每個人的性別分派不同的角色任務。男人在經由領袖魅力、同志情誼以及傳統習俗所形成的團體氛圍洗禮下，以仁義為行動準則，成為一個允文允武的男人，進而成為統治者。同時，被團體氛圍排斥的則有女人與酷兒，前者需學習順從與顧家，後者卻在兩性之間擺盪，無所適從。
本論文旨在藉由對此系統由內而外的探討，找出評估中國男性本質的方法，並解構性別的高牆，期對中國的性別研究有所貢獻。

Farewell to My Concubine is originally a Chinese opera, in which a concubine commits suicide to show her loyalty to her defeated lord. But Lilian Lee and later Chen Kaige appropriated it by making the protagonist Dieyi loyal to himself only.
Dieyi is delivered to an opera school by his courtesan mother when he is a boy. During his apprenticeship there, he is forced to play the roles of women because the master considers him as having the "potential" to take up this task. He becomes famous for playing the role of the aforementioned concubine, to the extent that offstage he lives like her and falls in love with his brother Xiaolou, who plays the lord.
Xiaolou, by contrast, is a masculine man who can distinguish well between onstage performance and offstage life. He marries a courtesan named Juxian, whose advent poses a threat to Dieyi and his bond with Xiaolou. A love triangle is then unfolded in the name of loyalty and ends with betrayal. At length, Dieyi is able to recognize that the play "had all been a fake" and that "[h]e would not die for love."
From the three persons, we may find that the force of culture is in play. Dieyi is a man who wants to learn to be feminine; Xiaolou is a man who wants to learn to be heroic; and Juxian is a courtesan who wants to learn to be loyal. Their role models are all created by men in accordance with a Confucian order-based system, which may hark back to both nature and childhood experience. This thesis attempts to first find out how culture appropriates nature, and then to examine how culture initiates the boy into manhood, as well as how culture constrains and excludes woman and the homosexual.
The Chinese order-based system, constituted principally by three levels of persons—the patriarch at the center, the all-men''s group as the framework, and woman and the homosexual on the edge, assigns every person a task according to his or her sexuality. Immersed in a group aura that is an ensemble of leadership, brotherhood and traditions, man acts according to ren and yi and achieves wen and wu in order to continue to rule. Meanwhile, excluded by the group aura are both woman, who is required to be obedient and homebound, and the homosexual, who cannot fit into either gender straitjacket.
This thesis, by exploring the system from the inside to the outside, aims to seek an approach to examining Chinese masculinities, to deconstruct the gender high wall, and to make some contributions to the Chinese sex/gender studies.

Table of Contents

Chinese Abstract---------------------------------------------------------------------- i
English Abstract----------------------------------------------------------------------- iii
Acknowledgements------------------------------------------------------------------- v
Chapter I: Nature, Culture, and History--------------------------------------- 1
1.1 From Nature to Culture------------------------------------------------- 6
1.2 Defining Wen-Wu and Ren-Yi --------------------------------------- 10
1.3 Historical Background ------------------------------------------------- 18
Chapter II: Path to Manhood-------------------------------------------------- 25
2.1 Childhood Sexuality ------------------------------------------------------ 26
2.2 Pubertal Sexuality--------------------------------------------------------- 39
2.3 The Quest for the Ideal Body ------------------------------------------- 46
Chapter III: The Role of the Father------------------------------------------ 54
3.1 Ambivalence toward the Father----------------------------------------- 55
3.2 Patriarch and Masculinization------------------------------------------- 63
Chapter IV: The Men''s Club-------------------------------------------------- 80
4.1 Constructing the Male Bond--------------------------------------------- 82
4.2 Group Aura (I): Wen and Wu-------------------------------------------- 98
4.3 Group Aura (II): Ren and Yi--------------------------------------------- 108
4.4 Mapping the Group Aura------------------------------------------------- 114


Chapter V: Defining the Boundary------------------------------------------ 118
5.1 Excluding Women--------------------------------------------------------- 119
5.2 Otherizing Homosexuals-------------------------------------------------- 127
5.3 Culture and Identification------------------------------------------------ 135
Works Consulted---------------------------------------------------------------------- 141
English Section----------------------------------------------------------------- 141
Chinese Section----------------------------------------------------------------- 146
Chinese Index-------------------------------------------------------------------------- 150

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