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从性别学视角切入研究中国古典文学和戏剧，不能不注意到“性别假面”这一奇特的话语模式和文化现象。性别假面文本，既包括“男说女话”又包括“女说男话”。本文探讨的是后者，主要从文化社会学角度借鉴女权批评理论，对“女说男话”在古典文本尤其是戏剧中的表现方式及其二重性内涵进行剖析，指出其实质是“菲勒斯中心”文化史上女性向男性准则认同的性别错位现象，其中既托寄着女权抗争的呐喊又体现出女权失语的无奈，从而于理性反思层面上给今人的创作提供有益的参考。
From a gender perspective into the study of Chinese classical literature and drama, we can not but pay attention to the “gender mask” of this strange discourse patterns and cultural phenomena. Gender masculine texts include both “male speaker” and “female speaker”. This paper explores the latter, mainly from the perspective of sociology of culture, drawing on the theory of feminist criticism, analyzing the expression and the duality connotation of the “female dialect” in classical texts, especially in drama, pointing out that the essence is “ Center ”in the cultural history of women identify with the male norms of gender dislocation phenomenon, which both hold the shout of the feminist struggle embodies the frustration of women’s rights aphasia, so as to rational reflection on the level of the present to provide a useful reference.