铁凝小说的女性意识
摘要
铁凝是当代文坛上一位很有影响力的作家,她始终以一种独特的姿态存在着,凭借大量的创作实绩不断引起评论界的关注。其文本表现出鲜明的女性意识。本论文以铁凝为着眼点,以她的小说为研究对象,通过对不同阶段的代表作品的解读来分析她的女性意识,从而说明铁凝的独特性。
引言中简要的介绍了铁凝的创作历程、小说的研究现状,并对本论文的选题做作了阐释。
第一部分主要论述了女性主体身份的诉求。从女性躯体的书写与女性性爱的表述两方面来阐述其小说中的女性意识。作者对女性健康的身体进行了高度的赞美,并对主人公的自赏行为予以了肯定。她对健康女性躯体的赞美,表现了女性对自身躯体的尊重和觉醒,有利于女性更好地了解自我、获得自我,传达了女性形象构建的理想。她还以空前的胆识切入女性原欲领域,表现了女性肉体的觉醒。她的创作直接指向女性那不完美的人生,对男权社会进行了无情的批判。在一定程度上解构和颠覆了男权中心话语,从而凸显了女性生存的本相。
第二部分主要论述了独特的人物形象。从对男性形象的解构、对母性形象的改写两方面来阐释其小说中的女性意识。铁凝打破了传统文学对母性形象的界定,解构了传统的母性形象,塑造出一些异类的母亲。同时她也通过不断的反思对其人格变化的原因进行了深入的分析,表达了对女性的深刻理解和认同,并致力于母性主体形象的建构,从而对母性进行一种深切的呼唤。铁凝通过对自私、懦弱男性的塑造,颠覆了主流叙述中完美的男性形象,深刻地剖析了男性作为丈夫、儿子、父亲等多重身份下的真实面目。通过对男性匮乏状态的揭示以及对男性形象的虚化,对传统的男权中心文化和社会进行了有力的消解和颠覆。
第三部分主要论述了独特的写作手法。从独特的第三性视角、独特的意象化语言两方面来阐释其小说中的女性意识。铁凝独创了一种第三性视角,它既弥补了单纯女性、男性视角各自的缺陷,又揉合了两者的优点。从而获得了超越性别话语约束之外的力度和质感。这样不仅可以洞悉女性内在的生命体验,还可以清醒地审视女性的缺陷和不足。铁凝把人物形象同众多具体、特殊的象征物联系在一起,用特定的意象符号来揭示作品的主题,从而使作品呈现出更为广阔的审美空间。她作品中经常出现的几个中心意象都与女性生命本质有关,这凸现了她潜意识中的女性写作立场。
Tiening, as one of the very influential writer in modern literary, exists on her own way all the time, has continually drawn the attention of the literary critics owe to her plentiful works. Her texts show vivid female consciousness. Focusing on Tiening herself and making a study of her novels, this dissertation intends to exhibit her originality by analyzing her female consciousness in her works of different period of writing.
The Introduction give a brief statement of Tiening’s process of writing, the contemporary study of her novels,and the reason why I choosing the topic.
In Part one, treatise expatiates the pursuit of the female subjectivity. I intend to elaborate the female consciousness from point of female body writing and female sexuality. The writer shows her high praise towards the female healthy body, and affirmation to the self-admiration of the female protagonists. While this kind of praise reveals the female’s respect to the body and their awakening, which can help the female have a better self-understand, self-achieving and also transmits her hope of constructing the female images. Meanwhile, Tiening boldly surf the area of the female’s original desire, exhibit the awakening of the female body. Her works fell on directly the female’s imperfect life, and mercilessly criticize the patriarchal society; they deconstruct and revolt to the male-centered discourse, highlight the originality of the female existence.
Part two mainly focuses upon the typical image of characters. It elaborates the female consciousness by deconstructing the male images and rewriting the maternal images.Tiening breaks the restriction of the maternal image in traditional literature, deconstructs it, and mold some distinct maternal images. Meanwhile, through her continuously self-introspection,she also makes a further analysis of the factors that leads to the change of personality, which shows her deep comprehension and identification towards the female. Also, in order to call for maternity, Tiening devotes herself to establishing maternal subjectivity.By molding the selfish, cowardly male images, Tiening overthrows the perfect male image in the mainstream narration, profoundly analyzes the veracious nature of the male images as husband, son and father; and by disclosing statement of the male absence and shadowing the male images, she powerfully dispels and overthrows the traditional patriarchy culture and society.
Part three is concerned about her unique writing techniques. It illustrates the female consciousness in her novels from her typical point of view of the third gender and her imaginable language. Tiening originally creates a third–gender point of view, which not only mends up the limitation of the wholly male point of view and the wholly female point of view, but also units the advantages of the two. As the third- gender point of view enables to gain strength and flexility that transcends the restriction of gender discourse, therefore, she can both insight the female life-experience of internal declaration,and inspect their defect and limitation.By combining the protagonists with various, specific and typical symbols, and using certain symbols of images to illustrate her works’themes, She unfolds a more expansive aesthetic space in her works. Some certain central images that often appear in her works have connection with the essence of the female, which evidently shows her standpoint of feminist writing.
引言中简要的介绍了铁凝的创作历程、小说的研究现状,并对本论文的选题做作了阐释。
第一部分主要论述了女性主体身份的诉求。从女性躯体的书写与女性性爱的表述两方面来阐述其小说中的女性意识。作者对女性健康的身体进行了高度的赞美,并对主人公的自赏行为予以了肯定。她对健康女性躯体的赞美,表现了女性对自身躯体的尊重和觉醒,有利于女性更好地了解自我、获得自我,传达了女性形象构建的理想。她还以空前的胆识切入女性原欲领域,表现了女性肉体的觉醒。她的创作直接指向女性那不完美的人生,对男权社会进行了无情的批判。在一定程度上解构和颠覆了男权中心话语,从而凸显了女性生存的本相。
第二部分主要论述了独特的人物形象。从对男性形象的解构、对母性形象的改写两方面来阐释其小说中的女性意识。铁凝打破了传统文学对母性形象的界定,解构了传统的母性形象,塑造出一些异类的母亲。同时她也通过不断的反思对其人格变化的原因进行了深入的分析,表达了对女性的深刻理解和认同,并致力于母性主体形象的建构,从而对母性进行一种深切的呼唤。铁凝通过对自私、懦弱男性的塑造,颠覆了主流叙述中完美的男性形象,深刻地剖析了男性作为丈夫、儿子、父亲等多重身份下的真实面目。通过对男性匮乏状态的揭示以及对男性形象的虚化,对传统的男权中心文化和社会进行了有力的消解和颠覆。
第三部分主要论述了独特的写作手法。从独特的第三性视角、独特的意象化语言两方面来阐释其小说中的女性意识。铁凝独创了一种第三性视角,它既弥补了单纯女性、男性视角各自的缺陷,又揉合了两者的优点。从而获得了超越性别话语约束之外的力度和质感。这样不仅可以洞悉女性内在的生命体验,还可以清醒地审视女性的缺陷和不足。铁凝把人物形象同众多具体、特殊的象征物联系在一起,用特定的意象符号来揭示作品的主题,从而使作品呈现出更为广阔的审美空间。她作品中经常出现的几个中心意象都与女性生命本质有关,这凸现了她潜意识中的女性写作立场。
Tiening, as one of the very influential writer in modern literary, exists on her own way all the time, has continually drawn the attention of the literary critics owe to her plentiful works. Her texts show vivid female consciousness. Focusing on Tiening herself and making a study of her novels, this dissertation intends to exhibit her originality by analyzing her female consciousness in her works of different period of writing.
The Introduction give a brief statement of Tiening’s process of writing, the contemporary study of her novels,and the reason why I choosing the topic.
In Part one, treatise expatiates the pursuit of the female subjectivity. I intend to elaborate the female consciousness from point of female body writing and female sexuality. The writer shows her high praise towards the female healthy body, and affirmation to the self-admiration of the female protagonists. While this kind of praise reveals the female’s respect to the body and their awakening, which can help the female have a better self-understand, self-achieving and also transmits her hope of constructing the female images. Meanwhile, Tiening boldly surf the area of the female’s original desire, exhibit the awakening of the female body. Her works fell on directly the female’s imperfect life, and mercilessly criticize the patriarchal society; they deconstruct and revolt to the male-centered discourse, highlight the originality of the female existence.
Part two mainly focuses upon the typical image of characters. It elaborates the female consciousness by deconstructing the male images and rewriting the maternal images.Tiening breaks the restriction of the maternal image in traditional literature, deconstructs it, and mold some distinct maternal images. Meanwhile, through her continuously self-introspection,she also makes a further analysis of the factors that leads to the change of personality, which shows her deep comprehension and identification towards the female. Also, in order to call for maternity, Tiening devotes herself to establishing maternal subjectivity.By molding the selfish, cowardly male images, Tiening overthrows the perfect male image in the mainstream narration, profoundly analyzes the veracious nature of the male images as husband, son and father; and by disclosing statement of the male absence and shadowing the male images, she powerfully dispels and overthrows the traditional patriarchy culture and society.
Part three is concerned about her unique writing techniques. It illustrates the female consciousness in her novels from her typical point of view of the third gender and her imaginable language. Tiening originally creates a third–gender point of view, which not only mends up the limitation of the wholly male point of view and the wholly female point of view, but also units the advantages of the two. As the third- gender point of view enables to gain strength and flexility that transcends the restriction of gender discourse, therefore, she can both insight the female life-experience of internal declaration,and inspect their defect and limitation.By combining the protagonists with various, specific and typical symbols, and using certain symbols of images to illustrate her works’themes, She unfolds a more expansive aesthetic space in her works. Some certain central images that often appear in her works have connection with the essence of the female, which evidently shows her standpoint of feminist writing.
引文
[1] 童娟.人性的追寻[D]:[硕士学位论文].合肥:安徽大学,2006.27.
[2] 铁凝.甜蜜的拍打[M].武汉:长江文艺出版社,2001.11.
[3][7][8][11][12][13] 铁凝.无雨之城[M].北京:人民文学出版社,2006.278、 54、228、159、160、22.
[4][5][16][21]铁凝.玫瑰门[M].北京:作家出版社,1989.107-108、108、205、367
[6][23][47]戴锦华.真纯者的质询—重读铁凝[J].文学评论,1994(5).9、10、7.
[9][10][14][24] 铁凝.会走路的梦[M].北京:人民文学出版社,2006.150、149、149、145
[15][18] 赫伯特·马尔库塞著.黄勇等译.爱欲与文明[M].上海:上海译文出版社,1987.
[17] 徐坤.双调夜行船----九十年代的女性写作[M].太原:山西教育出版社,1999.139.
[19] 王绯.女性与阅读期待[M].西安:陕西人民教育出版社,1998.174.
[20] 铁凝.玫瑰门[M].铁凝文集 4.南京:江苏文艺出版社,1996.256-257.
[22] 王红旗.中国女性文化(第一辑).北京:中国文联出版社,2000.28.
[25][43][44][56] 铁凝.大浴女[M].北京:人民文学出版社,2006.154、3、3、177.
[26] 艾德里安娜.里奇.当我们彻底觉醒的时候:回顾之作[A].张京媛.当代女性主义文学批评[C].北京:北京大学出版社,1992.125.
[27] 戴锦华.女权主义文学与批评[M].谢玉娥.女性文学研究教学参考资料[C]开封:河南大学出版社,1990.299 .
[28][29] 冰心.冰心经典作品[M].北京:当代世界出版社,2004.217、250.
[30] 葛晓音.新编唐诗三百首[M].河北:河北大学出版社,1995.334.
[31] 见 http://zhido.baidu.com/question/4008320.html
[32][34] 西蒙娜·德·波伏娃.第二性[M].北京:中国书籍出版社,1998.286、588.
[33] 鲁迅.南腔北调集·关于妇女解放.鲁迅全集.北京:人民文学出版社,1981.579.
[35] 田泥.走出塔的女人[M].北京:中国社会科学出版社,2005.120.
[36][37] 林丹娅.当代中国女性文学史论[M].厦门:厦门大学出版社,1995 .325、323.
[38][39] 刘学斤.对面、永远有多远和大浴女[A].铁凝.谁能让我害羞[C].杭州:心世界出版社,2002.383.
[40] 铁凝.王尧文学对话录.文学应当有捍卫人类精神健康和内心真正高贵的能力[J].当代作家评论,2003(6).19.
[41] [英]伍尔夫著.王环译.一间自己的屋子[M].沈阳:沈阳出版社,1999.98.
[42] 王一川.探访人的隐秘心灵——读铁凝的长篇小说<大浴女>[J].文学评论,2000(6).55.
[45] 巴赫金.陀斯妥耶夫斯基诗学问题[M].北京:三联书店,1992.334.
[46] 铁凝.大浴女[M].沈阳:春风文艺出版社,2000.162.
[48] 铁凝.像剪纸一样美艳明净[M].北京:人民文学出版社,2006.171.
[49] 铁凝.玫瑰门写在卷首(第四卷).南京:江苏文艺出版社,1998.1.
[50] 杨义.中国叙事学[M].北京:人民出版社,1997.275.
[51] 黑格尔著.美学(第一卷)[M].北京:商务印书馆,1997.352.
[52] [美]弗·杰姆逊.后现代主义与文化理论[M].西安:陕西师范大学出版社,1986.154.
[53] 童庆炳.文学理论教程[M].北京:高等教育出版社,2007.232—233.
[54] 王洪.长篇需要特别大的力气来支撑———铁凝专访.中华读书报,1998 年 12 月 30 日.
[55] 铁凝.无雨之城[M].沈阳:春风文艺出版社,1994.189.
[57] 铁凝.写作对我而言是种使命[N].人民日报海外版,2003 年 6 月 25 日.
[2] 铁凝.甜蜜的拍打[M].武汉:长江文艺出版社,2001.11.
[3][7][8][11][12][13] 铁凝.无雨之城[M].北京:人民文学出版社,2006.278、 54、228、159、160、22.
[4][5][16][21]铁凝.玫瑰门[M].北京:作家出版社,1989.107-108、108、205、367
[6][23][47]戴锦华.真纯者的质询—重读铁凝[J].文学评论,1994(5).9、10、7.
[9][10][14][24] 铁凝.会走路的梦[M].北京:人民文学出版社,2006.150、149、149、145
[15][18] 赫伯特·马尔库塞著.黄勇等译.爱欲与文明[M].上海:上海译文出版社,1987.
[17] 徐坤.双调夜行船----九十年代的女性写作[M].太原:山西教育出版社,1999.139.
[19] 王绯.女性与阅读期待[M].西安:陕西人民教育出版社,1998.174.
[20] 铁凝.玫瑰门[M].铁凝文集 4.南京:江苏文艺出版社,1996.256-257.
[22] 王红旗.中国女性文化(第一辑).北京:中国文联出版社,2000.28.
[25][43][44][56] 铁凝.大浴女[M].北京:人民文学出版社,2006.154、3、3、177.
[26] 艾德里安娜.里奇.当我们彻底觉醒的时候:回顾之作[A].张京媛.当代女性主义文学批评[C].北京:北京大学出版社,1992.125.
[27] 戴锦华.女权主义文学与批评[M].谢玉娥.女性文学研究教学参考资料[C]开封:河南大学出版社,1990.299 .
[28][29] 冰心.冰心经典作品[M].北京:当代世界出版社,2004.217、250.
[30] 葛晓音.新编唐诗三百首[M].河北:河北大学出版社,1995.334.
[31] 见 http://zhido.baidu.com/question/4008320.html
[32][34] 西蒙娜·德·波伏娃.第二性[M].北京:中国书籍出版社,1998.286、588.
[33] 鲁迅.南腔北调集·关于妇女解放.鲁迅全集.北京:人民文学出版社,1981.579.
[35] 田泥.走出塔的女人[M].北京:中国社会科学出版社,2005.120.
[36][37] 林丹娅.当代中国女性文学史论[M].厦门:厦门大学出版社,1995 .325、323.
[38][39] 刘学斤.对面、永远有多远和大浴女[A].铁凝.谁能让我害羞[C].杭州:心世界出版社,2002.383.
[40] 铁凝.王尧文学对话录.文学应当有捍卫人类精神健康和内心真正高贵的能力[J].当代作家评论,2003(6).19.
[41] [英]伍尔夫著.王环译.一间自己的屋子[M].沈阳:沈阳出版社,1999.98.
[42] 王一川.探访人的隐秘心灵——读铁凝的长篇小说<大浴女>[J].文学评论,2000(6).55.
[45] 巴赫金.陀斯妥耶夫斯基诗学问题[M].北京:三联书店,1992.334.
[46] 铁凝.大浴女[M].沈阳:春风文艺出版社,2000.162.
[48] 铁凝.像剪纸一样美艳明净[M].北京:人民文学出版社,2006.171.
[49] 铁凝.玫瑰门写在卷首(第四卷).南京:江苏文艺出版社,1998.1.
[50] 杨义.中国叙事学[M].北京:人民出版社,1997.275.
[51] 黑格尔著.美学(第一卷)[M].北京:商务印书馆,1997.352.
[52] [美]弗·杰姆逊.后现代主义与文化理论[M].西安:陕西师范大学出版社,1986.154.
[53] 童庆炳.文学理论教程[M].北京:高等教育出版社,2007.232—233.
[54] 王洪.长篇需要特别大的力气来支撑———铁凝专访.中华读书报,1998 年 12 月 30 日.
[55] 铁凝.无雨之城[M].沈阳:春风文艺出版社,1994.189.
[57] 铁凝.写作对我而言是种使命[N].人民日报海外版,2003 年 6 月 25 日.