重构与反叛——五四“新女性派作家”再解读
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摘要
作为一群被归类的作家,五四"新女性派"是带有明显的性别觉醒的印记的,这批作家包括了庐隐、丁玲、白薇、石评梅和冯沅君。本文试图通过对这一个作家群体的分析来印证五四时期知识女性在自我觉醒过程中的性别建构和对菲勒斯中心主义的反叛与重构,在这批女作家的作品中所带有的关于女性自我解放的强烈欲求与精神同盟的构建,在自叙传的书写中通过对"死亡"意象的向往甚至是迷恋而体现出来的在追求女性解放过程中的苦闷、压抑与自我消解。对这一作家群体的分析为"五四"以来女性作家在整个现代文学中的价值有了比较清晰的划分。这群带着"白色墨汁"写作的女性,为之后乃至当代女性写作开启了一个女性写作新模式。
As a group of classified writers, the May Fourth "New Women's Party" is marked with obvious gender awakening. These writers include Lu Yin, Ding Ling, Bai Wei, Shi Pingmei and Feng Yuanjun. This paper attempts to prove the gender construction of intellectual women in the process of self-awareness and the rebellion and reconstruction of Philus centralism through the analysis of this group of writers, the strong desire for women's self-liberation and the construction of spiritual alliances, which is contained in the works of these women writers. In the writing of self-narrative, through the longing for the "death" imagery and even the obsession, the depression, depression and self-dissolution in the pursuit of female liberation. The analysis of this group of writers has a clear division of the value of female writers in modern literature since the May Fourth Movement. This group of women with "white ink" writing has opened up a new model of female writing for later and even contemporary female writing.
As a group of classified writers, the May Fourth "New Women's Party" is marked with obvious gender awakening. These writers include Lu Yin, Ding Ling, Bai Wei, Shi Pingmei and Feng Yuanjun. This paper attempts to prove the gender construction of intellectual women in the process of self-awareness and the rebellion and reconstruction of Philus centralism through the analysis of this group of writers, the strong desire for women's self-liberation and the construction of spiritual alliances, which is contained in the works of these women writers. In the writing of self-narrative, through the longing for the "death" imagery and even the obsession, the depression, depression and self-dissolution in the pursuit of female liberation. The analysis of this group of writers has a clear division of the value of female writers in modern literature since the May Fourth Movement. This group of women with "white ink" writing has opened up a new model of female writing for later and even contemporary female writing.
引文
[1] 洪晨焰.“高门巨族”中的“婉顺”女性[D].金华:浙江师范大学,2005.
[2] 孟悦,戴锦华.浮出历史地表[M].郑州:河南人民出版社,1989:26.
[3] 张京媛.当代女性主义文学批评[M].北京:北京大学出版社,1992:193,195,196,193.
[4] 卢升淑.中国现当代女性文学与母性[D].北京:中国社会科学院研究生院,2000.
[5] 庐隐.庐隐文集[M].北京:燕山出版社,1998:135.
[6] 庐隐.一个情妇的日记[M].北京:京华出版社,2005:59.
[7] 孟悦,戴锦华.浮出历史地表[M].郑州:河南人民出版社,1989:23.
[8] 石评梅.涛语[M]//石评梅文集.北京:燕山出版社,1998:214.
[9] 李玲.青春女性的独特情怀[EB/OL].(2018-10-05)[2018-05-17].http://www.xslx.com.
[10] 庐隐.丽石的日记[M]//庐隐选集.天津:百花文艺出版社,1983:53.
[11] 庐隐.海滨故人[M]//庐隐选集.天津:百花文艺出版社,1983:73.
[12] 丁玲.暑假中[M]//丁玲全集.长沙:湖南人民出版社,1983:108.
[13] 石评梅.给庐隐[M]// 石评梅文集.北京:燕山出版社,1998:129.
[14] 石评梅.玉薇[M]//现代散文经典文库.北京:印刷工业出版社,2001:16,18.
[15] 常彬.中国女性文学话语流变[M].北京:人民出版社,2007:174,179.
[16] 庐隐.或人的悲哀[M]//庐隐选集.天津:百花文艺出版社 ,1983:40.
[17] 庐隐.曼丽[M]//庐隐选集.天津:百花文艺出版社,1983:97.
[18] 温翼.庐隐小说创作中悲哀情愫探源[J].文学教育(上),2008(12):60-62.
[19] 石评梅.病[M]// 石评梅文集.北京:燕山出版社, 1998:4.
[20] 石评梅.林楠的日记[M]// 石评梅文集.北京:燕山出版社, 1998:117.
[21] 丁玲.莎菲女士的日记[M]//丁玲全集.长沙:湖南人民出版社,1982:182.
[22] 丁玲.阿毛姑娘[M]//丁玲全集.长沙:湖南人民出版社,1982:16,168.
[23] 王鸣剑.无希望的爱恋是温柔的[M].北京:中国长安出版社,2003:4.
[24] 冯沅君.冯沅君创作译文集[M].济南:山东人民出版社,1983:89.
[25] 曾国伟.白薇作品选[M].长沙:湖南人民出版社,1985:51-52.
① 新女性派作家是从五四时期女作家中分类出来的,毅真在长篇论文《几位当代中国女小说家》中把五四女作家按照她们的创作风格、书写内容、表现方式的不同分为“闺秀派”和“新女性派”两类作家,而新女性派作家更加激进、大胆,作品更加具有女性意识。
② 白色墨汁最早是由埃莱娜·西苏提出,旨在用女性独特的话语方式来反抗菲勒斯中心主义。
③ 菲勒斯中心主义的“菲勒斯”是一个隐喻的男权符号,所以菲勒斯中心主义也就是人们一般所说的男权中心主义。
[2] 孟悦,戴锦华.浮出历史地表[M].郑州:河南人民出版社,1989:26.
[3] 张京媛.当代女性主义文学批评[M].北京:北京大学出版社,1992:193,195,196,193.
[4] 卢升淑.中国现当代女性文学与母性[D].北京:中国社会科学院研究生院,2000.
[5] 庐隐.庐隐文集[M].北京:燕山出版社,1998:135.
[6] 庐隐.一个情妇的日记[M].北京:京华出版社,2005:59.
[7] 孟悦,戴锦华.浮出历史地表[M].郑州:河南人民出版社,1989:23.
[8] 石评梅.涛语[M]//石评梅文集.北京:燕山出版社,1998:214.
[9] 李玲.青春女性的独特情怀[EB/OL].(2018-10-05)[2018-05-17].http://www.xslx.com.
[10] 庐隐.丽石的日记[M]//庐隐选集.天津:百花文艺出版社,1983:53.
[11] 庐隐.海滨故人[M]//庐隐选集.天津:百花文艺出版社,1983:73.
[12] 丁玲.暑假中[M]//丁玲全集.长沙:湖南人民出版社,1983:108.
[13] 石评梅.给庐隐[M]// 石评梅文集.北京:燕山出版社,1998:129.
[14] 石评梅.玉薇[M]//现代散文经典文库.北京:印刷工业出版社,2001:16,18.
[15] 常彬.中国女性文学话语流变[M].北京:人民出版社,2007:174,179.
[16] 庐隐.或人的悲哀[M]//庐隐选集.天津:百花文艺出版社 ,1983:40.
[17] 庐隐.曼丽[M]//庐隐选集.天津:百花文艺出版社,1983:97.
[18] 温翼.庐隐小说创作中悲哀情愫探源[J].文学教育(上),2008(12):60-62.
[19] 石评梅.病[M]// 石评梅文集.北京:燕山出版社, 1998:4.
[20] 石评梅.林楠的日记[M]// 石评梅文集.北京:燕山出版社, 1998:117.
[21] 丁玲.莎菲女士的日记[M]//丁玲全集.长沙:湖南人民出版社,1982:182.
[22] 丁玲.阿毛姑娘[M]//丁玲全集.长沙:湖南人民出版社,1982:16,168.
[23] 王鸣剑.无希望的爱恋是温柔的[M].北京:中国长安出版社,2003:4.
[24] 冯沅君.冯沅君创作译文集[M].济南:山东人民出版社,1983:89.
[25] 曾国伟.白薇作品选[M].长沙:湖南人民出版社,1985:51-52.
① 新女性派作家是从五四时期女作家中分类出来的,毅真在长篇论文《几位当代中国女小说家》中把五四女作家按照她们的创作风格、书写内容、表现方式的不同分为“闺秀派”和“新女性派”两类作家,而新女性派作家更加激进、大胆,作品更加具有女性意识。
② 白色墨汁最早是由埃莱娜·西苏提出,旨在用女性独特的话语方式来反抗菲勒斯中心主义。
③ 菲勒斯中心主义的“菲勒斯”是一个隐喻的男权符号,所以菲勒斯中心主义也就是人们一般所说的男权中心主义。