华北电力大学学报(社会科学版)

李汝珍《镜花缘》中的女性主题历来备受关注，但单独讨论性别很容易为现代观念所束缚。这部小说创造性地将女性形象置于国家的视野中加以呈现，“女儿国”的构想既作为乌托邦，又作为国家实体而存在。从女性与国家权力的关系入手，可以更全面地理解小说的话语结构。海外女儿国的性别身份秩序建立在与他国的对照中，结构性的男女对立在这里被表现为直接的暴力。天朝女君武则天既是女性权益的保护者，又是颠倒阴阳的暴君，以她为核心的女性自治，不得不导向虚无的结局。天朝与海外番邦之间的华夷之辨模仿着男女之间的性别规范，女儿国的颠倒结构却对天朝秩序构成了反讽。小说中的女性形象既是现实的再现，又在政治话语中成为男性的隐喻。

The female topic in Li Ruzhen's Flowers in the Mirror has continuously received much attention, however, discussing gender alone can easily be restricted by modern ideas. The novel creatively presents female figures in the context of the state. The “Country of Women” idea is expressed both as a utopia and a national entity. The discourse structure of this novel would have a more comprehensive interpretation by considering the relationship between women and state power. In the overseas Country of Women, the gender identity is established in contrast to other states, where the structural gender opposition is represented as direct violence. Wu Zetian, the female emperor of the Celestial Empire, is depicted as a protector of women's rights and a tyrant who reverses yin and yang. Thus the female autonomy centered on her turns into nothingness eventually. The distinction between Chinese and foreign states mimics the gender norms between men and women, while the inverted structure of the Country of Women becomes an irony of the central empire. The female figures in the novel are both representations of reality and metaphors for males in political discourse.