二十世纪女作家生命意识与性别诗学的建构
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摘要
“生命”是文学的母题,因其临界终极而魅力永恒,无法诠释又多种诠释。“生命意识”是对待生命的态度及表述,体现人们如何安顿人生,调节人的生命秩序。其可以理解为由精神理念的各个层级的符号所组成的生命象征系统,关于人生的种种指涉都可以关联性的涵盖其中。“性别诗学”是诗学理论之一种,是建立在性别和谐基础上的诗学理论。在诗学的大背景下探讨性别角色的复杂性,探讨由种族、性别、阶级、时代及经济因素所铸成的两性角色和身份之间的交叉和矛盾及由此指导的文化表述。如果说“双性和谐”是性别关系在文化中的理想,那么“性别诗学”则是性别关系在美学中的理想,是文学/文化向人的生命本体回归,向文学、批评的本位回归的表现。性别诗学的构筑强调的是生命的有机整体性:两性的互融共生、和谐共在。从“女性”到“性别”的发展体现了性别的超越性所指(transcendental signified),既是美学的,亦是文化的。“生命意识与性别诗学的建构”是切入文学与世界的方法之一种,面向未来,构建以生命的和谐意识为基点的性别诗学也应成为女性写作与研究的走向。
1.研究目的
性别诗学是美学理论的构建之一种,以生命的和诗意的方式来完成对理论的建构,在传统与现代的契合以及未来走向方面提供了科学的可能和美丽的设想。如果说80年代中期至今的女性研究完成了从女性无意识到女性意识的觉醒、男权中心和女权主义两难中的困惑,那么我们现在的研究就是要完成人类整体性别意识对单一性别意识的超越,要纠正女性研究过程中的偏激,偏离的情绪与方法,摆脱固有话语模式研究的藩篱,走向建构性别和谐乃至社会和谐的诗学轨道上来。
女性话语的意义在于她们提供了中国女性的生存状态,既是本真的也是扭曲的:她们如何在取得社会角色的过程中重新定位既定的、先验的传统命运,如何打破与扰乱原有的两性关系和社会秩序、又如何试图在现时的两性由对抗走向平和的时期寻找一种新的男女认同的关系图景——在拆解中的建构性别的诗学框架,同时建构新的人文主义精神。
2.研究方法
论文以研究的现实感和实证式的历史感为基础,坚持的是原创性、独立性、民族性的原则,有机整体性的性别和谐论的生存论立场。本文进行的研究是历时、共时互为的,以理论基点而非时序空间构架,从宏观的语境分析到微观的文本细读来进行分析写作。
思想反思与艺术批评的结合,抵达文化场域(culture field)更真实的内涵。对女性作家而言,将二者结合起来研究更能体察出创作者心灵深处的真实。社会——历史批评的方法来树立女性的书写传统,以文本的本真面目示人,拒绝、排斥男性话语以既定的体系对女性写作的框定、误读,回到女作家本人的心路历程和创作初衷。
文本分析、心理分析、历史考据等不拘一格的开放研究,不仅将文学理解为创作和批评的文学文本,而且将它看作是包括了其他各种因素的社会复合体,一个各种因素在其中交互作用的不断变化的社会空间。
3.成果和结论
对生命的形态和意志的体察,无疑是文学永恒和最高的主题。以生命意识为基点构建性别诗学,使文学回归到其本身的净化精神、陶冶性灵的审美层面上来,使女性文学向着健康、和谐的轨道迈进,是本文的向往与最终倡导。
序言部分指出了本论文所要解决的问题,即以20世纪女作家的文本为依据,以生命意识为切入点来建构性别诗学,为东方女性的美学理论找到一个支点进而建立起来框架体系。本论文的理论意义(对文学批评标准的丰富、对文学传统的重识、对文艺理论建设中性别意识的强化)和现实意义(对女性创作的引导、对生命的诗性提升、对人的和谐图景的描绘)都是十分明确的。
第一章着重探讨女作家生命意识的性别倾向,分为女性生命意识的倾斜与不平衡(压抑的符码/女性主体的问世/以回避的方式守护/女性欲望的认同);对女性生命本体的探究(自觉与自惑/自恋与自弃/自审与自诩);男权框定的覆灭与男人碎片的沉淀(反世俗倾向/拟理想倾向/潜意识倾向);性别规约的“无意”继承与“有意”反叛(对女性秩序的固守与超越/对男性秩序的质疑与默认)几个部分。“性别诗学”更强调的是一种建构性的社会文化身份,一种社会关系,根据女人自身的生命体验、生存经验来积累文本世界而实现对社会的认知。
第二章走向文本自身,因为生命是形式化的或是于形式的生命,女性以对生命形态的书写来实现对世界的终极关注。本章分为诗化的女性生命呈现(书写“生命”的方式操作/视角认同/话语重构);生命的时空寓言(家园的牧歌/历史、时间、记忆);意象:诗意及现实张力(梦幻——女人的心/镜子——女人的影/黑夜——女人的诗)几部分。女性的诗学书写与运用不是本着高深的理论或学说,而是按照自身的社会经验或人生感悟,是经验性也是创造性的。
第三章是本文的特色,从功能和价值的角度阐明“生命”书写与主体价值取向间的关系。本章分为生命书写的功能(谋生:生命的创造/谋爱:生命策略之一种);生命书写的诗学评判(言说的努力与限度/生命善念的辩护与执着)。人性的觉醒和自主意识的受重使女性的生存体验和生命意识在越来越真切的程度上得以表达,“生命”在女性文本中所占的特殊位置迫使观者对人类生命进程做深沉思索与诗学思辨。
第四章从文化的角度阐释女作家的生命话语及诗学走向。文章从宗教精神烛照和心灵澄明实证两方面论述基督教文化、禅宗文化、穆斯林文化对现代女性生存诗学的影响。在哲学观上,现代女性的生命意识经过儒家重生命的价值与意义,道家重生命的淳如和自由的熏陶而深入,形成了现代生命诗学的丰富的多元文化内涵(天人合一与角色宿命/灵肉对峙与角色危机/虚实相生与角色演出)。谈及性别诗学的走向,文章指出了前行之路上的诸多问题——比如个人意志/社会群体,感性的自然生命/理性的社会生命,客体的完整性/文学的传播等——尚需澄清和解决。
结语部分指出以生命意识为基点的性别诗学强调的是两性的和谐共生,强调现代女作家虽然仍未形成独立、系统的生命观,但她们在关注女性精神痛苦和生存艰难的同时,已经对如何在过渡时期“优雅地飞翔”有了明确的认识。以生命意识为基点建构性别诗学,在破与立的平衡中坚守和谐的性别观和审美观,使男女双性共同走向人类和谐的图景乃是女性现今的努力方向和诗学理想。
“Life”is one of the most important and source subjects in literature, it has endless explanations, but none of them could explain it exactly. In modern Chinese literature, female writers have special points of view on“life consciousness”, collecting and studying them is necessary and valuable. Since Chinese culture is kind to life and disgust to death, the thesis tries to find a new inspiration for modern novel research.
Modern female writers’“life consciousness”has its sexual\timing characteristics,“poetics of gender”is the poetic of theory of gender, the development from female to gender shows the signified transcendental sex, not only means aesthetics, but also culture.“Life consciousness and the building of poetics of gender”is one of the methods to understand the world and literature. The view of sexual study has long history, still, the subject of life has wide field, and however, to put these two together is an absolutely fresh domain. All in all, to collect and study these theoretical points, find a structure for them, has been a pivotal and important subject. It would help us to understand the relationship between Chinese female study and the western feminism; to study the current Chinese female literature; to excavate our traditional female history and moreover, to look forward to its future trend.
The purposes
“The poetics of gender”is one of the basic theories of aesthetics; the present study couldn’t overcome the prejudice about theory or the motionless of research. The current art theoretical study has been confined to realization, to the relationship between thoughts and exists, to objects while ignored literature’s real target:life activities, life experiences, life meanings. Certainly we couldn’t suppose that the view of gender is able to resolve all the regrets referred, but the female poetics style at least sets scientific possibilities and beautiful testament in individuality and relativity, freedom and limitation, tradition and modernity. The building of theory needs basic points and structure, needs conflicts and disputes as well. If the female study in 1980’s is the remedy of defects, the next step will be correction of deviation. The purposes of poetics study are to free female literature from sociology, civilization, anthropology, in a word, to be independent. In a way, coordinating life consciousness, the poetics of gender must be deepen Chinese modern aesthetics theory, and widen art theory study.
The significance of female writing exists they provide the real live existence of Chinese women; exhibit the hard choices they have to confront. Such as how to re-settle their confirmed destiny during the process of acquiring social role, how to break or interrupt the original sexual relationship and social order, how to find a new harmonious scene between men and women.
For a century, we have kept discussing female’s rebel, priori supposition restricts our thoughts. To blame or despise male has been fixed conclusion. Actually, what we need is not destruction but construction, to build an oriental female poetic structure, which is filled with purely humanitarianism. Since there is not war but connection between the two sexes, one could not survive without the other, just as day and night, sun and moon, the harmonious relationship between them is the most important part.
The methods
The thesis does not abstract a sort of pattern from innumerable theories, it gets rid of the opposition of certain\general, phenomenon\essence, and sets the foundation on realistic and historic study, establishes the interactivity between individual and collective experience. Female writings cultural logic and requirements are bound to leading them to a harmonious scene.
1.to stick to the principal of originality, individuality and nationality, the study of the thesis is according to times and contemporaries. Academic points but not annual orders are the frames. From macro approach to micro research, inductive and deductive, analytical and synthetically, historical and logical methods and so on, are all put into use in the thesis.
2.to cope introspection thoughts with are criticism together. The study pays attention to the writers’thoughts text, undoubtedly; moreover, it attaches importance on their imagination. The latter is the writers’day dreams, which explain their consciousness deeper than the declaration. As to female writers, to put these two factors together can observe the authentic records from their very real soul.
3.to use social-history method to set the tradition of female commentary. Liu Siqian once referred:“Let’s trace back to the text of literature itself and the writers themselves”, which means we should return to the original text, and the writers’genuine thoughts and feelings. So as to refuse the male traditional established translation of female writings. The thesis would like to find a win-win way, from the writers’clear-cut stand to their text, then to complete the female writers’poetic theory.
4.to analysis text, psychology, history and culture, all kinds of research methods mix together in the thesis. It is treated not only text of creating or criticizing but also composition of all sorts of factors. Meanwhile, the thesis would set the ability of anglicizing both material and personal creativeness, so as to realize life’s position in all kinds of literature and spirit activities.
The conclusions
To observe and describe life is the eternal and noble subject in literature. Based on female life consciousness, poetics of gender might trace back to itself function:exerting a favorable influence on one’s mind and soul, urging literature and art theory’s sound development.
The foreword part sets emphasis on the concept of“life”, and establishes the outlook of the thesis, to admit that death is the negation of life, based on this, writing“death”has its value in culture and aesthetics.
The first chapter draws the outline of the“life consciousness”and“poetics of gender”text for the past century,“Wu Si”period and the“new period”show solicitude for“life”from material to spirit, spontaneous to conscious, but liberal pursue run through it; From 30s to 40s, female writers eulogized revolutionary will highly or deeply thought living significance; After 80s, ideological trend has been widen, so there are many opinions on“life”, individual position showed on.
The second chapter discusses the relationship between text and writer’s thoughts. First part concludes five ways of written“death”, female writer’s skill presented indistinct and emotional; Second part tells female’s use of the first person and special time or space; Third part refers to the discourse, female or non-female vocabulary expressed the feeling of words.
The third chapter is the distinguishing feature of the thesis, from the function point of view to survey writer’s attitude. First, female pay great attention to convey the truth, kindness, and beauty; second, from morality, reason, mind three aspects expounds the function of“life”. Then, get the conclusion:writing death is not the only aim, it also for better living.
The last chapter interprets how culture affects writers. The trend of thought decides writer’s belief; Religious points about death or life influence text directly or indirectly; Chinese philosophy and Western philosophy have different views on life, they sediment in writer’s heart; The custom of China despise female, so they resist in one hand, perplex in the other hand.
The ending tells that Chinese female writers don’t know where to go yet, to build bright future; they have to make series of hard efforts. Their ideal theory stand is to settle harmonious scene of man and woman, holding hands tightly and walking to a sort of better life.
1.研究目的
性别诗学是美学理论的构建之一种,以生命的和诗意的方式来完成对理论的建构,在传统与现代的契合以及未来走向方面提供了科学的可能和美丽的设想。如果说80年代中期至今的女性研究完成了从女性无意识到女性意识的觉醒、男权中心和女权主义两难中的困惑,那么我们现在的研究就是要完成人类整体性别意识对单一性别意识的超越,要纠正女性研究过程中的偏激,偏离的情绪与方法,摆脱固有话语模式研究的藩篱,走向建构性别和谐乃至社会和谐的诗学轨道上来。
女性话语的意义在于她们提供了中国女性的生存状态,既是本真的也是扭曲的:她们如何在取得社会角色的过程中重新定位既定的、先验的传统命运,如何打破与扰乱原有的两性关系和社会秩序、又如何试图在现时的两性由对抗走向平和的时期寻找一种新的男女认同的关系图景——在拆解中的建构性别的诗学框架,同时建构新的人文主义精神。
2.研究方法
论文以研究的现实感和实证式的历史感为基础,坚持的是原创性、独立性、民族性的原则,有机整体性的性别和谐论的生存论立场。本文进行的研究是历时、共时互为的,以理论基点而非时序空间构架,从宏观的语境分析到微观的文本细读来进行分析写作。
思想反思与艺术批评的结合,抵达文化场域(culture field)更真实的内涵。对女性作家而言,将二者结合起来研究更能体察出创作者心灵深处的真实。社会——历史批评的方法来树立女性的书写传统,以文本的本真面目示人,拒绝、排斥男性话语以既定的体系对女性写作的框定、误读,回到女作家本人的心路历程和创作初衷。
文本分析、心理分析、历史考据等不拘一格的开放研究,不仅将文学理解为创作和批评的文学文本,而且将它看作是包括了其他各种因素的社会复合体,一个各种因素在其中交互作用的不断变化的社会空间。
3.成果和结论
对生命的形态和意志的体察,无疑是文学永恒和最高的主题。以生命意识为基点构建性别诗学,使文学回归到其本身的净化精神、陶冶性灵的审美层面上来,使女性文学向着健康、和谐的轨道迈进,是本文的向往与最终倡导。
序言部分指出了本论文所要解决的问题,即以20世纪女作家的文本为依据,以生命意识为切入点来建构性别诗学,为东方女性的美学理论找到一个支点进而建立起来框架体系。本论文的理论意义(对文学批评标准的丰富、对文学传统的重识、对文艺理论建设中性别意识的强化)和现实意义(对女性创作的引导、对生命的诗性提升、对人的和谐图景的描绘)都是十分明确的。
第一章着重探讨女作家生命意识的性别倾向,分为女性生命意识的倾斜与不平衡(压抑的符码/女性主体的问世/以回避的方式守护/女性欲望的认同);对女性生命本体的探究(自觉与自惑/自恋与自弃/自审与自诩);男权框定的覆灭与男人碎片的沉淀(反世俗倾向/拟理想倾向/潜意识倾向);性别规约的“无意”继承与“有意”反叛(对女性秩序的固守与超越/对男性秩序的质疑与默认)几个部分。“性别诗学”更强调的是一种建构性的社会文化身份,一种社会关系,根据女人自身的生命体验、生存经验来积累文本世界而实现对社会的认知。
第二章走向文本自身,因为生命是形式化的或是于形式的生命,女性以对生命形态的书写来实现对世界的终极关注。本章分为诗化的女性生命呈现(书写“生命”的方式操作/视角认同/话语重构);生命的时空寓言(家园的牧歌/历史、时间、记忆);意象:诗意及现实张力(梦幻——女人的心/镜子——女人的影/黑夜——女人的诗)几部分。女性的诗学书写与运用不是本着高深的理论或学说,而是按照自身的社会经验或人生感悟,是经验性也是创造性的。
第三章是本文的特色,从功能和价值的角度阐明“生命”书写与主体价值取向间的关系。本章分为生命书写的功能(谋生:生命的创造/谋爱:生命策略之一种);生命书写的诗学评判(言说的努力与限度/生命善念的辩护与执着)。人性的觉醒和自主意识的受重使女性的生存体验和生命意识在越来越真切的程度上得以表达,“生命”在女性文本中所占的特殊位置迫使观者对人类生命进程做深沉思索与诗学思辨。
第四章从文化的角度阐释女作家的生命话语及诗学走向。文章从宗教精神烛照和心灵澄明实证两方面论述基督教文化、禅宗文化、穆斯林文化对现代女性生存诗学的影响。在哲学观上,现代女性的生命意识经过儒家重生命的价值与意义,道家重生命的淳如和自由的熏陶而深入,形成了现代生命诗学的丰富的多元文化内涵(天人合一与角色宿命/灵肉对峙与角色危机/虚实相生与角色演出)。谈及性别诗学的走向,文章指出了前行之路上的诸多问题——比如个人意志/社会群体,感性的自然生命/理性的社会生命,客体的完整性/文学的传播等——尚需澄清和解决。
结语部分指出以生命意识为基点的性别诗学强调的是两性的和谐共生,强调现代女作家虽然仍未形成独立、系统的生命观,但她们在关注女性精神痛苦和生存艰难的同时,已经对如何在过渡时期“优雅地飞翔”有了明确的认识。以生命意识为基点建构性别诗学,在破与立的平衡中坚守和谐的性别观和审美观,使男女双性共同走向人类和谐的图景乃是女性现今的努力方向和诗学理想。
“Life”is one of the most important and source subjects in literature, it has endless explanations, but none of them could explain it exactly. In modern Chinese literature, female writers have special points of view on“life consciousness”, collecting and studying them is necessary and valuable. Since Chinese culture is kind to life and disgust to death, the thesis tries to find a new inspiration for modern novel research.
Modern female writers’“life consciousness”has its sexual\timing characteristics,“poetics of gender”is the poetic of theory of gender, the development from female to gender shows the signified transcendental sex, not only means aesthetics, but also culture.“Life consciousness and the building of poetics of gender”is one of the methods to understand the world and literature. The view of sexual study has long history, still, the subject of life has wide field, and however, to put these two together is an absolutely fresh domain. All in all, to collect and study these theoretical points, find a structure for them, has been a pivotal and important subject. It would help us to understand the relationship between Chinese female study and the western feminism; to study the current Chinese female literature; to excavate our traditional female history and moreover, to look forward to its future trend.
The purposes
“The poetics of gender”is one of the basic theories of aesthetics; the present study couldn’t overcome the prejudice about theory or the motionless of research. The current art theoretical study has been confined to realization, to the relationship between thoughts and exists, to objects while ignored literature’s real target:life activities, life experiences, life meanings. Certainly we couldn’t suppose that the view of gender is able to resolve all the regrets referred, but the female poetics style at least sets scientific possibilities and beautiful testament in individuality and relativity, freedom and limitation, tradition and modernity. The building of theory needs basic points and structure, needs conflicts and disputes as well. If the female study in 1980’s is the remedy of defects, the next step will be correction of deviation. The purposes of poetics study are to free female literature from sociology, civilization, anthropology, in a word, to be independent. In a way, coordinating life consciousness, the poetics of gender must be deepen Chinese modern aesthetics theory, and widen art theory study.
The significance of female writing exists they provide the real live existence of Chinese women; exhibit the hard choices they have to confront. Such as how to re-settle their confirmed destiny during the process of acquiring social role, how to break or interrupt the original sexual relationship and social order, how to find a new harmonious scene between men and women.
For a century, we have kept discussing female’s rebel, priori supposition restricts our thoughts. To blame or despise male has been fixed conclusion. Actually, what we need is not destruction but construction, to build an oriental female poetic structure, which is filled with purely humanitarianism. Since there is not war but connection between the two sexes, one could not survive without the other, just as day and night, sun and moon, the harmonious relationship between them is the most important part.
The methods
The thesis does not abstract a sort of pattern from innumerable theories, it gets rid of the opposition of certain\general, phenomenon\essence, and sets the foundation on realistic and historic study, establishes the interactivity between individual and collective experience. Female writings cultural logic and requirements are bound to leading them to a harmonious scene.
1.to stick to the principal of originality, individuality and nationality, the study of the thesis is according to times and contemporaries. Academic points but not annual orders are the frames. From macro approach to micro research, inductive and deductive, analytical and synthetically, historical and logical methods and so on, are all put into use in the thesis.
2.to cope introspection thoughts with are criticism together. The study pays attention to the writers’thoughts text, undoubtedly; moreover, it attaches importance on their imagination. The latter is the writers’day dreams, which explain their consciousness deeper than the declaration. As to female writers, to put these two factors together can observe the authentic records from their very real soul.
3.to use social-history method to set the tradition of female commentary. Liu Siqian once referred:“Let’s trace back to the text of literature itself and the writers themselves”, which means we should return to the original text, and the writers’genuine thoughts and feelings. So as to refuse the male traditional established translation of female writings. The thesis would like to find a win-win way, from the writers’clear-cut stand to their text, then to complete the female writers’poetic theory.
4.to analysis text, psychology, history and culture, all kinds of research methods mix together in the thesis. It is treated not only text of creating or criticizing but also composition of all sorts of factors. Meanwhile, the thesis would set the ability of anglicizing both material and personal creativeness, so as to realize life’s position in all kinds of literature and spirit activities.
The conclusions
To observe and describe life is the eternal and noble subject in literature. Based on female life consciousness, poetics of gender might trace back to itself function:exerting a favorable influence on one’s mind and soul, urging literature and art theory’s sound development.
The foreword part sets emphasis on the concept of“life”, and establishes the outlook of the thesis, to admit that death is the negation of life, based on this, writing“death”has its value in culture and aesthetics.
The first chapter draws the outline of the“life consciousness”and“poetics of gender”text for the past century,“Wu Si”period and the“new period”show solicitude for“life”from material to spirit, spontaneous to conscious, but liberal pursue run through it; From 30s to 40s, female writers eulogized revolutionary will highly or deeply thought living significance; After 80s, ideological trend has been widen, so there are many opinions on“life”, individual position showed on.
The second chapter discusses the relationship between text and writer’s thoughts. First part concludes five ways of written“death”, female writer’s skill presented indistinct and emotional; Second part tells female’s use of the first person and special time or space; Third part refers to the discourse, female or non-female vocabulary expressed the feeling of words.
The third chapter is the distinguishing feature of the thesis, from the function point of view to survey writer’s attitude. First, female pay great attention to convey the truth, kindness, and beauty; second, from morality, reason, mind three aspects expounds the function of“life”. Then, get the conclusion:writing death is not the only aim, it also for better living.
The last chapter interprets how culture affects writers. The trend of thought decides writer’s belief; Religious points about death or life influence text directly or indirectly; Chinese philosophy and Western philosophy have different views on life, they sediment in writer’s heart; The custom of China despise female, so they resist in one hand, perplex in the other hand.
The ending tells that Chinese female writers don’t know where to go yet, to build bright future; they have to make series of hard efforts. Their ideal theory stand is to settle harmonious scene of man and woman, holding hands tightly and walking to a sort of better life.
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