【作者】 侯艳兴；

【导师】 张济顺；

【作者基本信息】 复旦大学 ， 中国近现代史， 2008， 博士

【摘要】 在自杀学领域中,涂尔干((?)mile Durkheim)在其名著《自杀论》一书中得出了“自杀死亡者是男人比女人多”、“自杀主要是男性现象”的结论。但是这一结论并不适合于一定时空下的中国经验。据笔者研究,1927年至1937年上海自杀者的性别分布具有本土特点:女性自杀率大大高于男性自杀率。然而,本文不只是研究女性自杀者为何多于男性,而是把它作为我研究女性自杀的问题意识。自杀问题是社会学、心理学和医学研究的对象,但是如果把它作为一种有意义的行为来理解,看作一种文化现象,自杀就成为历史学研究的课题了。因此,本文选取1927年至1937年的上海作为研究时空,以女性自杀作为研究标本,旨在阐释女性自杀的社会文化意义,特别是性别意义。在史料方面,本文对史料的选择抱以开放的态度。一方面对档案材料、报刊杂志、官方调查等一手史料进行认真的爬梳;另一方面对散文、电影、小说、戏剧、谚语、漫画、竹枝词等文学体裁加以适当的运用。尤其是,本文试图图像证史,运用图像的“映现”与“再现”功能来分析说明问题。在理论方面,本文以社会性别理论为指导。虽然女性自杀在古代社会就有,但是女性自杀又具有时代性:既是时代的产物,又是时代的象征;本文阐述了在一定的社会情境下,女性自杀的社会性别的文化机制,女性自杀之可能不是天生如此,而是社会性别文化建构的结果。同时,本文还进行交叉性研究,把性别与身份、辈份、阶级、城乡、年龄、国族等其它分析范畴结合起来综合考察,体现女性自杀是这些范畴建构起来的多重等级制的产物,是多重等级制建构起来的差异的文化再表现形式。据此,本文有七大部分组成。导论,主要说明了论文的选题过程、研究状况、史料选择、理论借鉴以及总体框架。第一章主要论述了民国时期上海女性自杀的基本概况。在这一部分中,使用计量的方法,对女性自杀进行一种基于性别之上的社会学意义上的总体考察,分析了女性自杀的特点与类型。第二章主要分析与恋爱相关的女性自杀问题。首先简要分析了上海的各个阶层恋爱状况、恋爱观与恋爱中的为情自杀,继而以马振华情死为个案,叙述了她的自杀经验,从她的自杀中,我们可以观察到片面的贞操观念这一性别知识仍然在两性中根深蒂固。恋爱与爱情受到了特定时期社会性别文化的建构,为情自杀是女性对这种爱情崇拜的极端表现。第三章主要分析与婚姻问题相关的女性自杀问题。首先简要分析了上海的婚姻状态与非婚形态,继而以阮玲玉自杀为个案,运用生命史观的方法,叙述了她的自杀经验,从她的自杀中,我们可以观察到她人生性别化过程中的矛盾,即是“人生如戏”与“戏如人生”、“人言可畏”与“人性可畏”,最重要的是陷入了“爱情难题”与“婚姻围城”。因此,在以近代爱情为基础的婚姻生活,亦受到了特定时期社会性别文化的建构,爱情与婚姻的冲突可能会导致女性在婚姻生活中走向自杀。第四章主要分析与家庭问题相关的女性自杀问题。首先简要分析了上海的家庭结构与变迁状况,指出了民国时期上海家庭结构主要是从大家庭向小家庭的过渡状态,人口结构主要是从乡民向市民的转变状态,伦理结构主要是从传统向现代的交替状态。在此种种状态下,导致了上海家庭问题的凸显,主要表现为:夫妻矛盾突出、婆媳关系紧张、代际摩擦加剧等等问题,而这些冲突的结果之极端表现,导致女性在家庭纠纷中自杀。最后得出结论,家庭中的不平等的社会性别制度是导致女性在家庭中自杀的主要原因。第五章主要分析与社会问题相关的女性自杀问题。首先简要分析了上海女性在公共领域和私人领域中的困境,继而论述了她们从私领域(家庭)逐渐到公领域(社会)的过程。在这一转型过程中,这一弱势性别群体在男性中心的社会中,遭到了社会环境整体的压抑与逼仄,致使她们在社会中面临着自杀的可能。最后得出结论,在社会中,不合理的性别分工制度是导致女性在社会中自杀的主要原因。结语,总结全文及得出结论。本文认为1927-1937年的上海的女性自杀是社会转型时期的特有现象。女性自杀既是权力的体现,又是权力的运作。上海“自杀”女性,不是简单的社会和家庭责任的逃避者,不是传统封建女德教化意义上的“节妇烈女”,也不是宗教文化意义上的“殉道”者,甚至也非纯粹社会认识意义上的“被污辱被损害者”,亦非国族话语中“舍生取义”、“杀身成仁”的精神英雄,她们只是痴迷“爱情神话”和深陷“父权文化”的献祭者,而这种“爱情神话”和“父权文化”都是社会性别建构的结果。更多还原

【Abstract】 (E|’)mile Durkheim arrived at a conclusion that the number of male suicides is more than female and suicide is a male phenomenon in his famous book "Suicide: A Study in Sociology". But this conclusion is not fit for China. In my research, I will introduce my conclusion that female suicide’s rate is greatly beyond male suicide’s in Shanghai during 1927 to 1937. However, I will not stop on the compare of suicide rate, but think it as an awareness of question and continue to study female suicide itself. I think suicide is a meaningful behavior and cultural phenomenon so that suicide becomes a subject of history. Hereby, my dissertation tries to find out the social meaning of female suicide.In my dissertation, I keep an open mind to the choice of historical materials. On the one hand, my dissertation is on the base of analysis lots of files, newspapers and periodicals; on the other hand, I make good use of literatures, for example, essay, movie, fiction, drama, cartoon, proverb, Zhuzhici (竹枝词) and so on. Espicially, I will use images which are deserved to be as representation and reflection.My dissertation is directed by gender theory. Though there exit female suicide in ancient society, Shanghai’ female suicide has not only a product of the times but also a symbol of the times. I examine the cultural mechanism in the special social context and think that female suicide may not be born, but the results of social and cultural construction. At the same time, I have a intersectionality examination, that is to say, I generally examine the gender together with identity, position in the family hierarchy, class, city and country, age, nationality and other analysable categories which contruct various differences among people. Female suicde is one of the forms of cultural representation of these various differences.Accordingly, this dissertation can be divided into seven parts:In my introduction, I will introduce its process of choice of topic, recent situation of suicide research, the choice of historical materials, theory used for reference, and overall framework. In the chapter one, I mainly narrate the general Status, characteristics and pattern of Shanghai’s female suicide during 1927 to 1937.Chapter two mainly narrates female suicide in love. After briefly analyzing each class in love, their views to love and female suicide because of love affairs, I choose a Ma Zhenhua (马振华) case to analyze her suicide experience. From this case, I find out that unilateral virtue is deeply rooted. Amativness and love are both contructed by social gender culture and suicide is extreme behave because those females adore love.Charpter three mainly narrates female suicide in marriage. Firstly, I briefly analyze the situation of marriage of Shanghai at that time, secondly I choose Ruan Lingyu(阮玲玉) case and narrate her suicide experience on the method of life history. From this case, I can watch her life contradiction that is "her life likes a drama" and "drama likes her life", "fear what people say" and "human nature is feared", "love is a problem" and "marriage like a city encircled ". Lastly I get a conclusion that conflict between love and marriage maybe leads to female suicide.Charter four mainly narrates female suicide in family. Shanghai’s family was in a condition of period of transformation from extended family to nuclear family which rapid changing was due to serious problem of family including spouse’ conflict, quarrel and disputing, dissension between generations and so on. Female kill themselves because of this. Lastly I think gender inequality of famlily is main cause of female suicide in family.Charter five mainly narrates female suicide in society. In this chapter, after narrating some difficulties which Shanghai’s women faced from public sphere to private sphere, I will discuss a process in which female may be meet social oppress. So I think what is the female suicide’ mainly social reason is inequities in gender division of labor.In the last part, I will briefly summarize and conclude. I think that Shanghai’s women, who committed suicide, are victims because they are obsessed with "myth of Love" and "patriarchal culture", instead of simply escapees of family and society, "women of virtue martyrs" who are educated by feudal female morals, martyrs of a sense of religion and culture, even not those people of a purely social awareness significant who are insulted and injured, and also not those heroes of spirit who lay down their life for a just cause and die to achieve virtue in national discourse. What’s the most important, "myth of Love" and "patriarchal culture" are both contructed by gender.更多还原