东亚视域下韩中日三国侠妓形象比较研究 — 以≪杜十娘怒沉百寶箱≫≪青楼义女传≫≪江口侠妓愤薄情怒沉珠寶≫为例
A Comparative Study on the Image of Chivalrous Prostitute in Korea，China, and Japan from Trans-East Asian Perspective: Centering on Du Shiniang Sinks Her Jewel Box in Anger, JiangKou Chivalrous Prostitute Sinking Jewelry Angerily, Chong-ru-ui-nyo-jon
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东亚文化圈内的文学创作在历史演进过程中形成了相互影响、彼此借鉴的独特传统，而风尘女性形象的塑造则成为其中极具代表性的文学现象。中国、韩国与日本虽共享儒家文化的基本伦理框架，但在历史进程、文化心理及审美取向上却存在着显著的差异，这使得三国文学对侠妓形象的书写呈现出“同源异流”的特征。侠妓，作为兼具“侠义”精神与“风尘”身份的特殊女性形象，不仅是社会边缘群体的文学投射，更是文化价值观与道德伦理冲突的集中体现。因此，本论文以《杜十娘怒沉百宝箱》、《江口侠妓愤薄情沉珠宝》、《青楼义女传》三部小说中的侠妓形象为中心，探讨中韩日三国在“风尘女性”文学书写上的差异及其背后的原因。通过比较研究可以发现，三国作品中的女主人公在才情表现的维度、牺牲的逻辑以侠义精神的展现等方面各有不同。这种差异不仅与创造者本身的立场有关，也反映出三国在侠文化上的独特认知。由此可知，侠妓不只是悲剧的代名词，更是一个跨越文化边界、不断再生的文学符号，值得我们进一步探索研究。
Abstract
This paper centers on the representation of Chivalrous prostitutet figures in three works—Du Shiniang Sinks Her Jewel Box in Anger, JiangKou chivalrous prostitute sinking jewelry angerily, Chong-ru-ui-nyo-jon—in order to examine the differences in the literary portrayals of “ Prostitute” across China, Korea and Japan as well as the cultural and historical reasons underlying these divergences. The Korean Chong-ru-ui-nyo-jon and the Japanese JiangKou chivalrous prostitute sinking jewelry angerily can both be understood as adaptations of the Chinese Ming-dynasty novel Du Shiniang Sinks Her Jewel Box in Anger; however, the Chivalrous prostitutet images they construct differ significantly. Comparative analysis demonstrates that the heroines in these three texts diverge in their modes of displaying talent and artistry, the logic of their sacrifice, and the manifestation of chivalric spirit. Such differences are not only connected to the perspectives of the respective authors, but also reveal the distinct cultural perceptions of the Chivalrous prostitutet in China, Korea, and Japan.