【作者】 梁晓华；

【导师】 耿占春；

【作者基本信息】 河南大学 ， 中国现当代文学， 2004， 硕士

【摘要】 当代女性历史小说指的是当代女作家从女性立场出发来反观历史女性的命运，并在创作中表达当下的女性主义观念的历史题材小说。新历史小说创作往往用现代人的思维和叙述方式来把握和表现历史故事，消解原有的教化意义。当历史被描述为欲望的必然性和命运的偶然性的合力结果时，想象力和主观性便成了支撑文本的张力。从这一意义出发，新历史小说应该说是当代女性作家淋漓尽致地书写自我和表达当下的女性主义意识的最佳空间。“研究妇女就是要重写历史。”([美]琼·凯利)当代女性历史小说是通过重新定位和描绘女性形象来完成这一任务的。本文借用(德)埃利希·诺伊曼在《大母神——原型分析》中的概念，把当代女性历史小说中的女性形象分为女妖、圣女、母神和巫婆四大类型来进行解读剖析，探讨它们折射的女性主义观念，并试图用红色、白色、紫色和黑色来分别概括四种意象的内涵：女性自我张扬、女性自恋、女性自我提升与成长和女性僭越之后的非常态心理。 全文分前言、正文、结语三部分。 前言简单论述有关新历史小说创作观念、理论和技巧对女性历史小说创作的影响，引入传统的有关女性形象的观点以及当代女性对自我形象的重新认识和定位，并介绍大母神原型的四种变形和分类理论，阐述本文的写作意图。 正文采取历史观念的纵向对比和文本的横向综合分析相结合的方法，包括四节的论述。 第一部分：红色·女妖：女祸论与女性自我张扬。本节从异相、回归本色、流血与英雄情结等概念入手，分析女性历史小说里的“女妖”形象如何对传统女祸论进行颠覆，及如何张扬女性内心深处强烈的创造力、追求激情的存在等自我意识。 第二部分：白色·圣女：淑女论与女性精神自恋。本节对精神自恋作了心理病症意义上的和女性主义意义上的区分。前者是对淑女论的肯定和追随，而后者则是女性自我存在觉醒和日益张扬后进一步在精神上的自我肯定、喜爱，甚至上升为一种或尽善尽美或远远超越于男性把握范围的境界。论述中把圣女叙述为精神净化—救赎与涅集—废墟上的圣女—精神的自我完美化的线性演进。 第三部分:紫色·母神:母性崇拜与女性自我提升。这里的母神并非指男性对母性生育和哺乳功能的崇拜，而是在对坚韧的生命力、延续力作肯定的同时，对母神形象作大胆的颠覆，毫不讳饰地表现母性深处所隐藏的邪恶、扭曲和反常态的另一面，从而表达了更为成熟、完整的母性论:母性是情感之源和人生的充盈方式;母性是女性独立自强及其原则立场的有力支点;母性是扭曲和变形的爱和心智成熟;母性是宿命的传承和蜕变、升华。 第四部分:黑色·巫婆:憎厌悍妇与女性潜越之后。男性视野中的巫婆、悍妇和疯女人是男性对潜越的女性进行肆意异化和侮辱，并对她们表达憎厌情感的变形方式。当代女性作家把这些反常态女性解释为女性在潜越之后过度的自我与情感强调与对新的地位的无所适从时心理的失衡和行动的偏激。女性僧越是男权世界的梦魔，而梦魔是女性僧越后纠缠在潜意识中的情结，并具体表现为精神上的自虐与施虐。 结语部分对当代女性历史小说及其对建立当代女性形象观念的意义作简要概括。更多还原

【Abstract】 Contemporary feminine historical novels refer to those novels written by contemporary feminine authors, from the viewpoint of being a female, to reflect the fate of storied females and to express the contemporary ideas on feminism. New historical novels usually are composed with the contemporary thoughts and in the contemporary narrating ways to reflect historical stories, however, instead of advocating the traditional moralizing meanings, to grasp another meaning of those stories. Once the history is described as the result from the inevitability of desires together with the chanciness of history, the fantasy and subjectivity of authors becomes the tensile backstops of their writings. Therefore, proceeding from this meaning, new historical novels would be the best position for contemporary feminine authors to thoroughly write and express the contemporary ideas on feminism."Toresearch females is to rewrite the history" ( [ USA ] Joe Kelly), and contemporaryfeminine historical novels achieve this mission by redefining and reflecting female images. Thereinafter, with the definitions in The Great Mother: Analyzing Archetype, this essay divides the female images in contemporary feminine historical novels into four types as Femme Fatale, Maid, the Mother and Witch, to analyse, to unscramble and to grasp the ideas on feminism they reflect; what’s more, by using four colors of Red, White, Purple and black respectively , it sums up the meanings of these four types of images: feminine self-expression, feminine narcissism, feminine self-improvement and abnormal mentality of those self-assumed females.The essay composes of three parts: foreword, text, and epilogue.The foreword focuses on discussing the influences of the conception, theories, and skills from new historical novels in the composition of feminine historical novels,bringing in traditional ideas on female images, recognition and redefinition of self-image from contemporary females, introducing the theories of transfiguring and dividing the original image "the Great Mother" into four types images, as well as presenting the viewpoints of the author.The text combines the lengthways comparison of the historical ideas and the horizontal analysis of the contemporaneous novels, including four parts as following: Part 1: Red Femme Fatale: the saying of "Beauty brings misfortune" and the feminine self-expression. Cutting in with the conceptions of deviationism, blooding and heroism etc., this part analyses how Femme Fatales overthrow the traditional saying of "Beauty brings misfortune", and how they express the strong self-awareness and desires deep in their hearts such as creativity and seeking for enthusiasm etc. Part 2: White ?Maid: gentlewomanlism and feminine narcissism. This part distinguishes the psychological narcissism from feminine narcissism. The former is an affirmation and pursue to gentlewomanlism, while the latter is an affirmation to selfhood of female themselves, which comes from the awakening of feminine self-existence and self-expression. It has ascended to some perfection or to an area which the male is out of charge. In the part, Maid is described as a linear evolution as thefollowing: spiritualization--expiation and nirvana--Maid on the ruins--psychic self-perfection.Part 3: Purple ?the Mother: Maternal worship and feminine self-improvement. Herein the Mother does not refer to the worship to the maternal procreation and lactation, but to the affirmation of their tough vitality and strength. By overthrowing the image of the Mother, those works disclose the unrighteousness, distortion and abnormal which conceal deeply behind the motherhood. This is a more mature and integrated maternity: it is the source of the feelings and a way of enriching the life; it is a pivot of feminine independence; it is a form of distorted and transfigured love and mature; itis a succession, metamorphosis and sublimation f fate.Part 4: Black Witch: abhorring hellcats and self-assumed females. Those witches, hellcats and madwomen are更多还原