【作者】 李军；

【导师】 张福贵；

【作者基本信息】 吉林大学 ， 中国现当代文学， 2011， 博士

【摘要】 在中国现代文学研究中,性别意识领域是一个亟待发现和梳理的领域,长期处于性别无意识的研究状态,会直接影响到对文本意义阐释与文学史建设的合理性。本论文从性别立场出发,借用女性主义文学批评理论与西方叙事学分析方法,以客观公允求实的学术态度,重新切入中国现代男作家的个人生活与书写文本(以小说为主,兼顾少量戏剧),考察其现实、创作与批评中的具体性别表述、女性观念与男性思维、两性关系与形象塑造、情节模式与人物类型等诸方面,辨识隐藏于各种故事叙事之下的话语权力,从而发掘出他们显性理念与深层意识之间的悖离性矛盾,打开一个历来被男权文化所折叠的阐释与批判层面。是以命名为“想象性书写”与“边缘性阅读”。绪论中首先界定了何为中国现代男作家们的“想象性书写”,实际就是指其在文学作品中对女性形象的虚构性想象及叙述。这种“想象”体现在诸多方面:其一,对女性形象的异化书写;其二,对女性主体性意识的隔膜与误解;其三,对女性能指的工具性运用。接下来又分析了何为女性的“边缘性阅读”,它第一应该是“批评性阅读”,女性读者应该自觉地从一个“赞同型读者”变成一个“抗拒性读者”;其次,应该是一种“解构”行为,对经典文本“权威阐释”的解构。性别与文学的关系,一直是文学批评领域的一个认识盲区,所以论文又较为细致地理清了“自然性别“与”社会性别”两个概念。在介绍了国内研究现状的基础上,论文的研究范围被具体化:时间段限于中国现代文学时期;放弃女性文学文本,专门解读与反思男性作家,尤其是现代经典男性作家的“文”、“言”、“行”,以期总结出“历史中间物”们深层的不自知也不轻易为人所知的男权集体无意识。最后,作者提出论文主旨意在“重读”与“发掘”,希望凭借翔实的现实考察与文本分析,辨析现代男作家们的男性性别主体的局限性,边缘性地界定他们创作中对女性形象的想象色彩,从而真正做到在话语和阅读中尊重性别和个体差异,为文学研究提供一种多元化平等化的文化视阈。上编主要整理和解读了中国现代男作家的“言”与“行”。第一节通过对中国现代妇女解放运动中诸多男性精英知识分子们言论意见的梳理,发见了其被男性价值尺度左右的潜层意义。作为一种从“妇女解放”到“解放妇女”的微妙转换,这场“妇女解放”运动只是以男性为主体的、以男性为依托的一次“女性被运动”。第二节探讨了中国现代男作家们如何在婚恋生活这个最能体现真正两性关系价值观的领域,表现出了在传统男性意识与现代文化意识之间的摇摆与挣扎。第三节则通过梳理现代文学领域中著名男性评论家们的女性文学批评言论,包括在文学批评过程中男批评家与女作家之间的关系模式,总结出诸多潜在的性别意识。在现代文学批评中,存在着不易察觉的性别等级意识,不仅批评的标准和方法是有性别的,而且男性的女性文学批评也有着同样的性别目的。下编是论文重点所在,从四个方面全面梳理了中国现代男作家的文学叙述,进一步反思与解构其“表层文本”下的“深层意识”。第一节论述分析了他们笔下的女性形象,指出在历史中女性一直是处在文学表述的被动地位,这个事实在中国现代文学中同样存在。现代男作家们创造的女性形象虽然丰富多彩,但她们在男性文本中其实始终处于一种“被看”、“被说”、“被用”的“被动式”状态。正是在这些“被动态”的女性形象中,我们看到了在新旧叙事系统中同样根深蒂固的男性中心意识的痕迹。第二节论述分析了他们笔下的人物类型,指出在现代男性叙事里两性人物类型在文本中扮演了不同的角色。论文首先作了一个概念的转换,包括概念关系之间的重新定义,将两种对立的叙述学人物观整合到一处,然后以具体的文本分析论证出男性人物多是“心理性”的人物,而女性人物则呈现出客体化、表象化、“物化”的描写特征,作为“功能化”的符号,成为男性欲望的目标或确认自我的辅助品。这种叙事结构与塑形方式上的厚此薄彼中,隐含了明显的性别歧视。第三节论述分析的是他们笔下的两性关系,提出在现代男性叙事作品中,很难发现平等和谐的两性关系,相反,男女之间常见的是一种二元对立的相处模式——“助”与“毁”。这种“毁”“助”之间的绝对主体和主题一定是男性,而女性则或是充当了他们人生道路上的扶助之手,从现实生活、肉体欲望、精神追求上满足了男性的多方面利益与需求;或是成为他们人生经历中的毁灭之门,将他们从社会地位、生命意志到主体自尊都拉入地狱。这种两性关系模式流露出一种隐含的单向性的审美关系,实际卫护的是传统的性别秩序。第四节论述分析的是他们笔下的情节模式。论文从现代男作家文本中挑选出三个出现频率极高的情节叙述因子:出走、成长、贞节,通过对其的文本比照与研究,概括出一些男作家们在叙事策略与叙事结构安排上的表层特征与深层潜在。如针对男性人物叙述的“出走”模式多倾向于社会性、政治性和历史性,而针对女性叙述的“出走”模式却多倾向于个体性、情感性乃至宿命性;在男性作家的“成长”模式中,大量出现的将女性形象“男性化”处理的叙事策略;以及对女性贞节观念的功利性分化与评价等。所有这些都指向了父权制的性支配思想在我们文化深处所形成的那种顽固的“性别无意识”。在结语部分,论文再一次总结了中国现代男作家们的深层性别意识与其表层性别观念、性别宣言之间存在的诸多差异性与矛盾性。指出在20世纪初中国的大社会历史文化语境中,现代男作家们的性别意识其实应该受到了四方面的不同影响。其一,是伴随着共产主义思想的传播,来自苏联的无产阶级女性观;其二,是伴随着欧风美雨而来的西方女权主义女性观;其三,是伴随着日本的现代化崛起而接触的日本文化女性观;其四是中国几千年男权文化传统的女性观。它们共同构成了中国现代男性作家性别意识的复杂性,使得他们远未达到一种超越传统偏见与男性中心的自在自为境界。更多还原

【Abstract】 In the research of Chinese modern literature, the gender consciousness is the field which urgently waits to be discovered and combed. It is the gender unconsciousness for a long time in the study that influences the rationalization of the text explanation and the literature history construction. Proceeding from the gender standpoint, the dissertation borrows the feminine literary theory and the narrative analysis method. Objectively, realistically, fairly and justly, the author cuts into Chinese modern male writers’individual life and the written text (By novel primarily, refer to both few plays) from a new point of view. Through the inspections of their personal lives,the creations and the criticism, the paper analyses the male authors’gender expressions, such as feminine ideas and masculine thoughts, sexual relations and image molds, plot patterns and character types, together with various literary aspects. By discovering and recognizing the discourse power in the each kind of story, the thesis not only excavates the contradiction between their external idea and internal consciousness, but also opens an explanative and critical level which has been always folded by the paternal culture. By stating above all, the thesis takes its name as“imaginary writing”and“marginal reading”.The introduction defines what“imaginary writing”is of Chinese modern male writers, which is the made-up imagination and narration of the image of women in their literary works. This "imagination" shows many aspects: First, an alienation writing to the image of women; Second, an unfamiliarity and misunderstanding of female subjectivity; Third, a tool using of women intensions. Then the thesis analyzes what“marginal reading”of women is: first being a“critical reading”, the female reader should be conscious of changing from an“assenting reader”to a“resisting reader”; Second, being a“deconstruction”behavior, which means deconstructing the authority interpretation to the classical texts. For the literary criticism, the relationship between gender and literature has always been an awareness of blind spots, so the paper has cleared the Sex and Gender as two terms in more details. Based on the introduction of related research in China, the paper limited its study scope: the time period is of Chinese modern literature; abandoning female literary texts while specializing in the interpretation and introspection of male writers’works, especially the“expression”“action”and“narration”of modern classic male writers; summing up their in-deep male collective unconscious as the“historical intermediates”. The paper intends to“the re-reading”and“the excavation”. With the help of a full and accurate inspection to the reality and the text, it wants to discriminate the paternal limitation of modern male writers’ and the imagination color that they created to the female images. The aim of this academic paper is to respect the gender and the individual difference in the words and reading and provide a cultural visual threshold for the literature research on the base of multiplicity and equalization.The first chapter collates and interprets Chinese modern male writers’“expression”and“action”. In section I through combing Chinese modern elite intellectuals’statements in the women’s liberation movement, the potential significance level of its scale of man values is discovered. Transforming from the“women’s liberation”to“emancipating women”subtly, Chinese modern women’s liberation is actually a male-subjected, a male-based movement. In Section II Chinese modern male writers’struggle between the traditional consciousness and modern culture in their love and marriage is expressed, which fully embodies the values of sexual relations. Through combing the criticism of famous modern male literary critics to female works, including the pattern of relationships between them, the third section sums up a lot of potential gender consciousness. In the field of modern literary criticism, there is some hierarchy of gender consciousness----not only the standards and methods of criticism have been“gendered”, but also the purposes of criticism have.The second chapter is the key part of the paper, which further introspects and deconstructs the deep consciousness in the superficial texts of Chinese modern male authors’narration from the four-round.Section I discusses and analyses their female characters. Women had been in a passive position in the literary expressions in history and this fact also exists in Chinese modern literature. Modern men writers had created all sorts of female images vividly, but they had always been in a kind of“being watched”, "being said”,“being used”state actually and passively. It is in these passive female characters that we have seen the same vestiges in the both new and old narrative rooted in the male-centered consciousness.Section II discusses and analyses their character types. In the modern male narrative, men and women play the different roles in the texts. Firstly, the paper makes a conversion of concepts, including re-definition of the relationship between them and conforming two opposite character concepts of Narrative into one place. Then it demonstrates that male characters are mostly“psychological”ones while the female characters are“functional”symbols with the specific text analysis. The latter had become the target of male desire or confirmation of their self-definition with the features of“object”、“superficiality”and“materialization”in the descriptions. This narrative structure and favoritism imply significant gender discrimination.Section III discusses and analysis their sexual relations. The thesis presents that it is difficult to find equal and harmonious relations between the sexes in the narrative of modern men writers, on the contrary, is common between men and women interact in a binary opposition–“help”and“destroyed”. The absolute subject and the theme of this relationship must be men, while women in their lives, or as a hand of support on the road, from the real life, bodily desire and spiritual pursuit to meet more men interests and needs; or as the door of destruction in their experiences, from the social status, self-will and self-esteem to be dragged into hell. This pattern reveals an implicit one-way relationship in the aesthetic, an actual defense of the traditional gender order.Section IV discusses and analyses their plot patterns. The paper selects three plot motifs with high frequency from the texts of modern male writers: Departure, Growth and Chastity. With the comparison and research of texts, it summarizes some superficial features and deep potential in the narrative strategies and arrangements of modern male writers. For example, the descriptions for the male characters’“Departure”are more inclined to social, political and historical, while women account for the“Departure”mode is more inclined to individuality, emotion and even predestination; In the“Growth”mode of male writers, a large number of female images are dealt with“masculine”narrative strategy; And the utilitarian differentiations and evaluations to female“Chastity”, etc. All these point to the dominant ideology of patriarchy in our culture that formed deep in the persistence of“gender unconscious.”In the conclusion part, the paper once again sums up many differences existing between the modern male writers’deep gender consciousness and their superficial ideas and declarations of gender. In the early 20th century, within the great social and historical and cultural context, Chinese modern male writers’gender consciousness should be a matter of four different effects. First, accompanied by the spread of the communist ideology, proletarian view of women from the Soviet Union; Second, accompanied by European and American culture, concept of feminism from the Western; Third, accompanied by the rise of modern Japan, Japanese culture view of women in contact; The fourth is the most important, Chinese traditional culture view of women for thousands of years. Together they constitute the complexity of gender consciousness of Chinese modern male writers, making them far beyond the realm of freedom from the traditional bias and the male-centered reach.更多还原