“身体”与权力的反转——李拓之《文身》研究
The “Body” and the Reversal of Power—Study on Tattoo by Li Tuozhi

《文身》通过对《水浒传》中扈三娘形象的重新塑造，探讨了性别权力关系的反转，小说中，扈三娘对男性身体的凝视不仅仅局限于视觉上的欣赏，她深入解构这些身体的文化象征，并通过这种凝视赋予男性身体新的意义，这使她从一个被物化的对象转变为主动的凝视者，打破了传统的“男性凝视”模式。此外，文身这一象征性的行为不仅代表了她的自我认同，也表现了她对社会性别规定的反抗，文身带来的身体痛苦使其一定程度上实现了对自我身份的觉醒，成为在权力、欲望与身体之间挣扎、追求自由与自我认同的复杂个体。然而，尽管《文身》在性别权力结构的反思上取得了突破，仍有一定局限性，这也反映出男性作家在描写女性心理和欲望时的难度与挑战。
Tattoo explores the reversal of gender power relations through the reconstruction of the image of Hu Sanniang in the novel. In the novel, Hu Sanniang’s gaze on the male body is not limited to visual appreciation. She deeply deconstructs the cultural symbols of these bodies and gives the male body new meaning through this gaze. This transformed her from an objectified object to an active gazer, breaking the traditional “male gaze” pattern. In addition, the symbolic act of tattooing not only represents her self-identity but also shows her resistance to social gender regulations. The physical pain brought by tattooing makes her realize the awakening of her self-identity to a certain extent, and she becomes a complex individual who struggles between power, desire and body and pursues freedom and self-identity. However, although Tattoo has made a breakthrough in reflecting on the gender power structure, it still has certain limitations, which also reflects the difficulty and challenge of male writers in describing women’s psychology and desires.