【作者】 崔彦玲；

【导师】 乔以钢；

【作者基本信息】 南开大学 ， 中国现当代文学， 2013， 博士

【摘要】 本文以女作家的创作切入百年乡土书写,梳理女作家的乡土书写传统,建构女性塑造乡土女性的形象谱系,探询在“乡土”与“乡土女性”两个文学体系中交错、纠缠的作者性别身份、书写立场、写作姿态、文学和社会历史期许、审美追求,以及它们所构成的纷繁复杂的文学世界。论文研究范围涉及“近二十年”(20世纪90年代至今)的相关创作。第一章回溯“五四”至新时期女作家的乡土书写传统,包括对乡土女性形象的塑造。在这一题材领域,女作家的创作既体现出与时代主流话语的共鸣,表现出女性强烈的社会参与意识、开阔的文学视野、多姿多彩的艺术风貌,同时也由自发或自觉的性别意识形成了“女性越轨的笔致”,发出了游离于时代话语的女性自己的声音,表达了对乡土女性境遇和命运的独特思考。第二章论述20世纪90年代以来基于现代理性启蒙立场的相关女作家创作。在此,女性主义立场与现代知识分子理性启蒙立场在某种程度上达成一致,共同参与了对20世纪90年代社会转型以来乡土女性生存困境和文化境遇的批判与反思,并对乡土女性自身的文化痼疾进行审视。“启蒙”于此既体现为对乡土社会几千年宗法制男权社会形成的性别歧视传统的冷峻批判,也体现为对以崭新面目出现的“现代性”中隐含的问题的高度警觉。第三章考察女作家基于“反现代”立场对乡土世界与乡土女性的重塑。“民间”作为重要的语义场和话语资源,有效地参与并构建了截然不同于现代理性话语规制下的乡土世界、乡土历史和乡土女性形象。“民间”立场的包容性使得相关书写不仅对时代主流政治话语有所反拨,同时也体现出对知识分子精英立场的有意疏离和对道德话语的超越,其要旨在于对健全“人性”的体贴与呵护。第四章针对20世纪90年代以来中国社会急遽的城市化转型所形成的庞大的“进城”潮流在文学中的折射,透视女作家对“进城”乡土女性心态的表现、“进城”乡土女性的苦难书写和常态书写。在城市与乡村、现代与传统、富裕与贫困、掠夺与被掠夺等语境中,立足于社会转型期独特的文学景观,考察女作家对时代、历史、女性等因素敏锐的捕捉、深刻而独到的表现。其中,对进城乡土女性的常态书写尤为生动地体现了女作家在文学实践方面的独特探索。第五章从“日常性”和“地域性”两个方面,考察女作家在乡土创作和乡土女性形象塑造中的审美特征。“日常”不仅是表达现代理性启蒙的有效手段、营造“反现代”意味家园的温馨细节,更体现为对意识形态与宏大叙事有意疏离,藉以还原“原生态”的乡土世界和乡土女性的世俗化生存本相。“地域性”无论对于乡土文学本身抑或是女性文学／性别研究均是一个重要的维度,其与后两者的共性在于由“差异性”所形成的丰富的美学效果和参差的性别经验。在全球化、一体化无可阻挡的态势面前,地域性不仅为文学提供了形态各异的审美资源和美学风格,而且为我们考察它对“性别”生态的影响,丰富对女性文学的认识维度具有积极意义。结语部分总结20世纪90年代以来女作家乡土女性书写的意义。本文认为,从“乡土”角度切入女作家创作,有助于纠正关于90年代女性写作陷入“个人化”、“脱离现实”的片面认识和刻板印象。“乡土”之于“女性文学”的意义还在于,它提供了一种素朴、温和、本色地书写性别关系的模式；而且,在日渐浓厚的消费文化语境中,“乡土”和“女性”的双重“边缘”地位,具有某种类似解构主义的“他者”功能,不期然间构成了时代精神与文学想象主流表达之外的另一维度。更多还原

【Abstract】 This dissertation departs from the works of women writers in regional writing and tries to depict the tradition in this genre and the formation of native female characters. Moreover, in terms of gender identity of the writers, their standpoint and attitude in writing, social and literary contexts and their aesthetic values, it analyzes the complicated relationship between two literary systems, namely "nativist literature" and "native women", as well as the literary world constructed by these two systems.In the First Chapter, it reviews the tradition of nativist literature and native women’s writing from the "May Fourth" period to recent decades. Within this genre, on the one hand, women’s writing follows the mainstream discourses in different eras, which manifests women’s strong will to participate in public matters as well as their broad literary visions and various literary styles; on the other hand, their spontaneous gender consciousness establishes a kind of "deviant writing of women" which voices women’s own thoughts separated from the common discourse of the time and shows unique thinking about the circumstances and fate of native women. This chapter lays a historical foundation for further studies on women’s writing concerning native women in the recent two decades.In the Second Chapter, it discusses women’s writing based on the standpoint of modern rational enlightenment since the1990s. The viewpoint of feminism coincides with modern intellectuals’standpoint of rational enlightenment. These two parties take part in criticism and reflection on native women’s existential dilemma and cultural circumstances in a changing society in the1990s, and they also examine the deep-rooted cultural problems in native women per se. Therefore, this enlightenment is a serious scrutiny of biased gender tradition and outdated gender order formed in the patriarchal society for thousands of years, and sensitive awareness of "modernity" which reappears with a new face.Chapter Three investigates women writers’rewriting of native land and native women from a viewpoint of "anti-modern". As an important semantic field and discourses,"something folk" effectively participates in the construction of native world and history and its female figures which are completely different from modem rational discourses. The inclusiveness of "folk" stance enables these writings to diversify from mainstream political discourses of the time, and in the meantime, manifests its conscious distance from the viewpoint of elite intellectuals and its transcendence of moral discourses. Its fundamental purpose lies in the thorough consideration and concern of "humanity".Since the1990s, with the rapid development of urbanization, Chinese society has witnessed a tremendous trend of "going to city". The Fourth Chapter focuses on the literary representation of this trend and analyzes women writers’depiction of "going--to-city" women’s mentality and their sufferings, as well as their normal days. In terms of the city and the country, modern and tradition, the rich and the poor, and plundering and being plundered, this chapter examines a special kind of literary phenomenon during social transformation, as well as writers’sensitive capture and unique representation of time, history and women. Besides, writings concerning daily activities of native "going-to-city" women vividly demonstrate women writers’ distinctive exploration in literary practice.From the perspectives of "routineness" and "region", Chapter Five investigates aesthetic features in women writers’regional writing and their characterization of native women. The writing of "routineness" is not only an effective way to express modern rational enlightenment and to illustrate cozy details of "anti-modern" homeland, but also a representation of the conscious remoteness to ideology and grand narrative, aiming at the reduction of "original" native world and the demonstration of native women’s secularized survival."Region" is a crucial perspective in both nativist literature per se and women’s literature/gender studies, which shares common characteristics with the latter in terms of various aesthetic effects and diversified gender experiences formed by "difference". In front of the evitable process of globalization, different regions not only provide rich aesthetic resources and styles, but also have a positive influence over our recognition of "gender" and the enrichment of women’s literature. In the conclusion, this dissertation summarizes the meaning of the writing of native women since the1990s. As for women writers, the departure of "nativist literature" will correct the one-sided understanding and stereotype concerning women’s writing in the1990s labeled as something "personalized" and "divorced from reality". The significance of "native" for women’s writing lies in its plain, gentle and genuine writing pattern of gender and relationship. Furthermore, within the cultural discourses of increasingly strong consumerism, the double "marginalization" of "native" and "women" enjoys certain function of "otherness" in deconstruction, unexpectedly developing another perspective besides Zeitgeist and mainstream image and expression in literature.更多还原