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就像一场伟大的造山运动,在原始的创世神 话过后,男性神形象突然崛起,而女性神形象却颓 然陷落。历史来到了英雄神话世界。这是一个洋 溢着雄性激素的世界,一个血与剑的世界,一个男 权的世界。一个有力的证据来自于中国的《诗经》, 当姜螈踏上天帝的大脚趾后,就只有将氏族的权 杖拱手让出,退入了历史门楼内--历史的门槛 迈出了后稷的伟岸身躯。另一部先秦典籍里提供 另一方面的关于追逐婚姻--女性的婚姻地位已 然跌落--的有力证据。《易·爻辞》以一种充满调 笑的轻松口吻描述道:“屯如邅如,乘马班如。匪 寇,婚媾。”轻松与调笑底下是自信,男性力量崛起 后的自信。然而,一场历史的造山运动也必然伴随 着强烈的思想余震,神话的地表留下了可供解读 的断裂面与褶皱层。
Like a great orogeny, after the original creation myth, the image of male god suddenly rises, while the image of female god is slumped. History came to the heroic myth of the world. This is a world filled with androgen, a world of blood and sword, a patriarchal world. A strong evidence comes from China’s “Book of Songs.” When Jiang Zixi sets foot on the Emperor’s big toe, he can only surrender his clan to the historical gatehouse - the threshold of history has taken Houji The magnificent body. Another Pre-Qin textbook provides strong evidence on the other hand that chasing marriages - where women’s marital status has fallen - has fallen. “Easy to say goodbye” in a relaxed tone of ease describes: “Tuen such as, such as riding classes such as bandit, wedding 媾.” Under the ease and indignation is self-confidence, confidence after the rise of male power . However, a historic orogeny must also be accompanied by a strong aftershock, and the mythical surface leaves ruptures and folds that can be interpreted.