冰心、罗蕙锡、宫本百合子文学的女性意识比较研究
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摘要
随着东亚在经济、政治等方面的国际地位日益突出,过去未曾受到关注的东亚国家文化也逐渐受到了青睐。中国、韩国、日本学者们开始将东亚地域作为一个单位来思考,关于东亚的讨论和论述也越来越活跃。他们将如何进一步重构东亚自己的认识机制,以更多元的地域文化维度,思考现代性的发生和发展轨迹作为新的具有重大价值的课题进行深入的探讨和研究。
中、韩、日三国同处于东亚,在历史和文化方面有许多共同之处,尤其是中国儒家思想对三国封建社会的影响极其深远,家长制导致封建时代女性地位跌落到谷底,作为人的尊严荡然无存。一定时代的女性,总是同那个时代的文化密切相关。任何时代,女性都是文化的创造者之一。同时,一定的文化,无不以其内在结构从多种角度制约着女性生活。某一时代的女性,在特定的文化涵盖下,在特定的文化氛围里生活、接受这种文化所决定的社会观、价值观、道德观、宇宙观,按照这种文化提供的行为模式和社会期望值塑造自身,并在一定的文化传统背景之下,遵循着相应的文化风习而生活。19世纪末20世纪初,随着社会制度的更迭以及文明的推进,新的思想和观念逐渐被人们所接受,社会意识形态也开始呈现出崭新的面貌,而这些变化中最令人瞩目的便是女性地位的转变。中国、韩国和日本都出现了接受现代教育,追求个性解放,勇于与传统封建道德抗争的新女性。她们谋求新的身份认同,她们开拓了女性自己的话语空间和政治空间,促使更多女性的个体意识、独立意识逐渐觉醒并走向成熟。
冰心(1900-1999)、罗蕙锡(1896-1948)、宫本百合子(1899-1951)在1910年代先后各自登上中、韩、日三国文坛,并成为文坛的一颗耀眼新星。她们是20世纪初通过体现女性意识和性别特征的女性文学分别展示中韩日三国女性生命内核的领军人物。她们以富有思辨性和哲理性的话语冲击长久以来束缚广大女性的传统观念和陈腐教条,使女性问题在传统和近代的碰撞中得到更多的关注,让几千年被搁置于社会边缘的女性群体开始逐渐走向社会的中心。
可以说20世纪初登上文坛的女作家们一般都有类似的经历背景：一是机遇,她们生长在动荡和变革的大环境中,作为“人”之意识在此催发下完全觉醒；二是条件,她们中的许多人来自文化渊源较为浓厚的封建家庭或中产阶级家庭,同时又接受新知识、新思潮,形成特殊的知识结构与文化素养；三是她们都与旧事物做出某种程度的决裂,积极寻求新的理想生活和人生价值；四是作为解放的对象,她们在主观上是完全独立的,但是在客观现实中,还无法完全摆脱父权文化的束缚和影响。冰心、罗蕙锡、宫本百合子也不例外。她们年龄相差无几,都出生在条件优越的家庭,接受的教育程度也相仿；她们都生活在动荡激变的年代,经历和目睹了东西方文化的大接触、大交流、大冲撞,同时有了在女子教育问题上具有一定超前意识的家人的支持,所以有幸成为接受新式教育的时代宠儿,具备了日后成为中韩日三国文坛举足轻重的女性作家的必要条件。她们不断祛除歧视、束缚女性的观念、陋习等传统文化中的糟粕,积极追求新文化、新思想,以刚毅的性格和对学问的执着战胜了来自社会和家庭的种种困难。并把这一时期的经历都多少写入了自己的文学作品中。
1918年5月,由鲁迅发表的第一篇白话短篇小说《狂人日记》拉开了“五四”小说的序幕。之后,冰心作为近代女性作家第一人,1919年发表了《两个家庭》等一系列反映婚姻、教育、事业的短篇小说,由此正式开创了“问题小说”之风气。1917年1月,春园李光洙发表了象征韩国近代小说开端的长篇小说《无情》。罗蕙锡于1918年发表的《琼姬》被文坛发掘之后,在取材的现实性、作品的结构特征以及塑造的人物性格等方面都被认为远远超过早一年发表的《无情》,是一部真正具有韩国近代小说全貌的女性近代小说。1916年,17岁的宫本百合子在《中央公报》上发表了处女作,即以农村生活为题材的《贫穷的人们》,轰动了日本文坛,并被称为“天才少女”,受到了当时文坛的广泛关注。
冰心的《两个家庭》、《秋风秋雨愁煞人》,罗蕙锡的《琼姬》、《怨恨》、《闺怨》,宫本百合子的《伸子》、《两个庭院》等作品不约而同地把目光投向女性的教育、婚姻、价值等众多女性社会问题,批判男尊女卑等封建习俗和新旧父法夫权,并倡导女性追求自由和崇尚自我的新女性意识。三位女作家站在时代的潮头,或探究造成女性不幸的根源,或捍卫女性人格的尊严或审视人性趋恶的一面,她们的作品一问世,便很快在社会上引起广泛反响,受到了许多读者的热烈欢迎和文学评论界的热切关注。因此,相似的家庭出身和成长经历以及作为新女性所经历的身份认同的困境使她们创作的文学作品里有了很多相似之处,为进行比较研究提供了可能性。
本文以女性主义文学理论为依托,借助比较文学美国学派平行研究的有关理论和方法,主要考察三位女作家在1910年代至1940年代创作发表的小说中体现出来的女性意识,为了能够更加全面、系统地进行考察分析,结合相应时期撰写的随笔、日记、评论等作品,以便进行多方位的比较分析,谋求为三位作家的文学作品研究提供一个较全面的视角。
女性意识是指建立在女性性别之上的、有别于男性的情感和意识,它涵盖着女性对历史、自身命运的反思以及价值自审、内在体验等内容。本文从以下几个方面对冰心、罗蕙锡、宫本百合子的文学作品中体现出的女性意识进行着重考察和分析。
为了深入探究作品中体现的女性意识,本文先考察了东亚三国在近代化过程中所发生的传统文化与西方文化之间的碰撞与交融,并考察这一冲击在东亚三国都引起了哪些政治、经济、文化等社会各领域的广泛而深刻的变革,之后再分析在中西文化碰撞的时代背景下,受到西方女性解放思想影响的东亚三国的女性如何从一个受压迫、受歧视的群体,开始觉醒,结束“目不识丁,足不出户”的历史,从闺房走向社会,参预各种政治和社会文化活动,追求个性解放,追求自由。
19世纪,深受儒家文化影响的中日韩三国都面临西方列强的入侵,被迫打开国门,开启现代化之路。随后的19世纪末20世纪初,便迎来了东亚三国女性身份地位大解放、大变革的时代。
在中国,甲午战争后随着民族危机的空前严重以及近代民族主义的兴起,一些有识之士认识到——救国就要先救人,即造就符合时代需要的新国民.而要做到这一点,就必须使占人口一半的女性得到受教育的机会,废除缠足等恶习.他们认识到了解除女性所受重压的必要性和迫切性。这样,中国女性的解放与国家、民族的命运紧密地联系了起来。随着女性问题的提出,少数率先觉醒的女知识分子开始对女性主体性价值进行认真的思考,并追求和伸张与男性平等的权利.作为“五·四”光芒直接辉映下的20世纪第一代女性作家,冰心在精神上必然接受过“五·四”的洗礼。在黑暗重压下,她与当时许多男性作家一样,带着悲愤之情勉力向前,向旧的传统势力发起冲击,这就自然使作品带有许多对国家、对民族命运的关切和忧患。她的“问题小说”包括了国难问题、青年问题、人才问题、妇女问题、家庭问题、下层劳动人民等多种题材。因此即使被指具有“问题小说”泛而不精的普遍缺点,但是从其几乎囊括“问题小说”所涉及的大部分问题的成就来讲,不愧是中国“新文学的第一代开拓者”。
韩国因当时特定时代的限制,女性解放运动并没有像中国成为名符其实的反帝反封建运动中的一大主流。20世纪初的韩国已完全丧失国权,女性教育、女性解放等问题本身无法真正成为社会所关注的对象,因此,以救国为目标的女性教育、女性改革很难从根本上改变根深蒂固的封建陋习——父权制的男尊女卑思想。面对这样的现实社会,罗蕙锡以其冷峻的思考能力和独特的认知方式关注和诠释韩国女性的命运,提出了富有时代气息、具有男女平等的新型女性道德观。她的这些思想反映了对传统性别文化反思的深度和广度,其表现的锋芒锐气,不仅震惊当时,在一个世纪后的今天也颇有启发意义。
在日本,1868年明治维新使得日本走上了发展资本主义的道路,这场资产阶级革命虽不够彻底,但毕竟推翻了封建的幕府统治。此后,随着西方自由、民主的思想得以广泛传播,人们开始追求新生活,人权运动也随之高涨起来。这也唤醒了一批女性的自我认识和表现的欲望。在这样的时代环境中成长的宫本百合子以敏锐的观察力和感受性,站在女性的立场,挖掘男权社会的不公平的同时,执着追求女性独立人格。可以说,宫本百合子对女性问题的关注一直贯彻其文学创作生涯的始终。
到20世纪初,东亚三国的社会随着平等、自由、个性解放的呼声日渐高涨,人的自由意识不断觉醒,致使中韩日三国封建旧式家庭的父权文化观念的主宰地位开始逐渐松动起来。在这样一个新旧世界交替的变革期,以父权为代表的封建家长制对子女的压迫更加变本加厉。封建家长以“关心”和“关爱”的名义,勒紧套在子女身上的枷锁,在教育、婚姻等问题上事事干涉,事事阻挠。
冰心、罗蕙锡、宫本百合子的作品中都深深体现了对封建家长制的反思与批判。旧式封建家庭里,专制蛮横的父亲或者代行父权执法的母亲以“关心”子女为名,把自己的价值观强加给子女,对子女的人生选择进行粗暴干涉。在历史的长河中,封建家长制深深地压迫着中韩日三国的年轻一代,让他们失去了婚姻自由、接受教育等许多作为一个“人”的权利。冰心的《斯人独憔悴》、《秋风秋雨愁煞人》,罗蕙锡的《琼姬》、《闺怨》、《怨恨》,宫本百合子的《伸子》等小说都呈现了围绕教育、婚姻问题发生的父母与子女之间不可调和的矛盾和冲突,以此反映在封建家长制的压迫和束缚下,子女作为“人”的尊严荡然无存。冰心的《斯人独憔悴》、《秋风秋雨愁煞人》和罗蕙锡的《琼姬》、《闺怨》、《怨恨》中着重描绘的是独断专横的封建父亲形象,封建父亲们要么用拒付学费的手段剥夺子女继续求学的权利,要么不顾女儿的想法为她们包办婚姻。而宫本百合子的《伸子》中着重描绘的是被父系文化观念所同化,成为男权代言人甚至执法者的母亲的形象。可以看出,冰心和罗蕙锡的作品中,通过揭发以‘关心’和‘爱’的名义压迫、束缚子女的封建父亲的真正意图,体现了作家对父权独断专横的强烈的批判意识。而宫本百合子的作品里把母亲放置于要挑战的价值体系的象征的位置,透露出迂回的批判性。此外,三位作家在针对同样深刻的矛盾时,冰心的小说呈现的冲突相对平缓,而罗蕙锡和宫本百合子的小说呈现的冲突相对激烈一些。
值得一提的是冰心、罗蕙锡、宫本百合子的小说里,女性与“封建男性”的关系层面上也呈现出复杂的趋向。比起“封建父亲”是女性批判的对象,“封建丈夫”却成了女性同情和怜悯的对象。三位作家似乎都以女性天然的“母性之爱”把男性策略性的倒置于被同情、被启蒙的位置中,以此来说明受父权主义弊害的不仅有女性,还有继承父权思想的封建儿子们。在冰心和罗蕙锡的小说中,优越的物质环境和愚昧的封建教育使儿子们早已没有了年轻男子该有的志气和理想,每天过着浑沌的日子,早早地顺从父母包办的婚姻,乖乖地娶妻成家,生儿育女。从小过着养尊处优的他们,接受的是完整的封建教育,精神上已变得十分苍白和空虚。在一个以男权为中心的社会,作为主体的男性若要维护自己制定的社会规则——封建宗法制度,自身也好遵循其中的部分规则。比如,和女性一样要把择偶权双手拱让给父亲和代表父权的母亲。他们要遵循社会的需求,满足社会对自己的要求。而成为“社会之人”,本质上来讲就意味着要抛弃作为“自我”的人。抛弃“自我”,就是需要按照一种未必是他们的天性或本性所喜欢或需要的生活方式生存着。所以从这个意义上讲,封建社会的男性既是父权主义的主宰者,也是牺牲者。冰心和罗蕙锡能把父权带来的弊害延伸到男性自身,说明她们对父权的认识是既有深度又有广度。有所区别的是对男性的同情虽然都是以妻子的视角来表现的,但是冰心笔下的女性同情丈夫更多的是出于对封建家庭的教育方式及封建制度的批判,是正面视角；而罗蕙锡笔下的女性则是无知的“旧女性”出于女性善良之本性同情丈夫,是反面视角。显然罗蕙锡以无知的“旧女性”视角同情男性更具有讽刺性。在宫本百合子的小说中,伸子明知道佃性格忧郁,有懦弱阴暗的一面,却因同情而主动提出结婚说明她的内心和潜意识里隐藏着天然的‘母性之爱’,而进一步挖掘就可以辨析作家把封建文化制度下的强者和弱者倒置的无意识意图。
此外,综观冰心、罗蕙锡、宫本百合子小说中的父亲形象,可以发现冰心和宫本百合子的小说除了作为被批判对象的父亲形象之外,同时还有一些“可敬可亲”的“慈父”形象。如：冰心的《海上》、《小家庭制度下的牺牲》、《第一次宴会》和宫本百合子的《伸子》等作品中父亲无不是“恩慈”有加。而罗蕙锡的小说里几乎找不到这种“慈父”形象。形成这种对“父亲”话语立场上的不同,与她们成长中留下的对父亲的印象不无关系。冰心有位非常开明、慈祥的父亲。在成长过程中,父亲的爱国、进步思想曾对她产生了深刻的影响；宫本百合子的自传体小说中也可以看出她与父亲之间的深厚感情和亲密关系。而罗蕙锡的父亲远没有冰心和宫本百合子的父亲开明、进步。仅从罗蕙锡的父亲娶了比罗蕙锡大一岁的年轻女性作小妾一事就可以知道是一位父权思想浓厚的男性。能把女儿送出国外继续深造,也只是因为略懂得女人有点知识不吃亏的浅层面上的认识,是出于让女儿具备将来成为富人家长儿媳的“文化素养”的需要。这种对父亲的不同记忆使冰心、宫本百合子和罗蕙锡刻画了不同的父亲形象。因此,冰心、宫本百合子小说的男性形象相对来说视角比较宽,呈现出多样性；罗蕙锡的小说则对封建男性形象的剖析更加深入一些。
三位女作家在文学作品中都关注了女性的自由恋爱和婚姻问题。冰心的《秋风秋雨愁煞人》里的主人公英云虽然是受过新式教育的新女性,但是因被父母包办的婚姻陷于寂寞的沼泽中。所以,像英云这样具有一定文化程度和自我意识的新女性,其实是还未做到彻底的觉悟,并未完全摆脱封建思想的束缚,实际上还未完全褪去旧女性的印记。当与以男权为中心的传统道德发生冲突时,在捍卫自己的权利上仍然很柔弱和悲观。因此,冰心塑造了消极型新女性——英云,是为了揭示在封建家长制的压迫下,即使是新女性也无法避开或抗争被压迫、被束缚的命运的事实,对女性来说究其实质就是新的“旧女性式”悲哀。而罗蕙锡的《琼姬》和宫本百合子的《伸子》刻画的新女性个性鲜明,充满睿智和勇气。虽然她们也经历了一场内心的矛盾和挣扎,但最终都没有顺从封建家长的旨意,而是勇敢地选择和追求作为“人”的自由和梦想。通过考察和分析三位女作家作品中新女性在婚姻问题上的经验遭遇,可以得出作品中侧重点的异同。围绕婚姻问题发生的新女性和封建家长之间的冲突,可以说冰心的作品侧重呈现的是女主人公心里的无奈和惆怅,罗蕙锡和宫本百合子的作品则侧重呈现了对父权(母代父权)的抗争和新女性自身内心的斗争和矛盾。
冰心、罗蕙锡、宫本百合子在文学作品中都关注了教育问题。例如,冰心的《两个家庭》,罗蕙锡的《琼姬》,宫本百合子的《贫穷的人们》等作品都提到了教育的重要性和迫切性。其中,冰心的《两个家庭》里,女性的教育问题与家庭和国家的层面联系在一起,体现了女性应该接受良好的教育,提高自身的修养,这样才能给家庭和社会带来积极影响的主张。罗蕙锡的《琼姬》里,女性的教育问题是基于女性主义视角提出的针对教育问题中的性别不平等,体现了女性应享有与男子平等的受教育权利和机会的主张。可以说,冰心和罗蕙锡通过各自作品中的新女性人物提出了女性受教育的重要性,她们以身作则,把教育付诸于实践,并参与到社会活动之中,具有鲜明的启蒙特征和意义。而宫本百合子与冰心和罗蕙锡不同,她关注的是贫民阶层的教育问题。这与宫本百合子从事创作活动时日本女性已经普遍接受教育的状况有关系。因此,作者的教育观体现在关注贫富差距,关注贫民阶层的生活状态的小说——《贫穷的人们》,以此体现了作者强烈的社会责任意识和人文情怀。
冰心、罗蕙锡、宫本百合子在各自的文学作品里都对19世纪末20世纪初提出的“贤妻良母”女性观表达了自己的认识和主张。从冰心的《两个家庭》、《秋风秋雨愁煞人》、《我的母亲》等作品中可以看出,她虽然强调女性也是“人”的观点,并批评压制女性“人”之意识的男权社会,但那是相对蕴含一定包容性的批判意识。因此,冰心对女性的传统道德——“贤妻良母”的标准也没有完全摒弃,而是吸取了其中认为合理的要素,提出了一个新的“贤妻良母”观。冰心给予肯定的女性是具有成熟的思想和客观的现实认知能力,得到社会的尊重和认可的新女性。而都曾受到过日本女性解放思潮最前沿的《青踏》派影响的罗蕙锡和宫本百合子认为所谓“贤妻良母”女性观是在封建家长制残留的社会框架下,由男性根据自己的思想价值观定下的标准,其目的是为了把女性束缚在家庭这个由男性支配的私人领域,抹杀女性的社会生活空间,实际上是套在女性身上的新的枷锁。罗蕙锡在1914年发表的韩国近代史上第一次介绍女权论的文章——《理想的妇人》一文中提到：“把‘良妻贤母’作为理想女性的标准是不可取的。…男人是夫,男人也是父。但还未曾听说过有‘良夫贤父’之说。为什么只对女性提以要求?即使是为了让女人具备一种修养,也实在是没有什么意义。还有把‘温良柔顺’作为理想女性的标准也是不可取的。其实,这是为了把女人变成奴隶而冠以‘理想’之名。”宫本百合子主张女性“要自立,自主地活出自我”。她在自传体小说《伸子》和《两个庭院》中塑造了新女性主人公——伸子,如名字一样,伸子是一个有主见、有自强自立自尊人格,并茁壮成长实现自我的新女性。为了事业,为了追求独立的生存权,她毅然决然地放弃爱情和母爱。由此可见,罗蕙锡和宫本百合子都反对女性做“贤妻良母”,主张女性应成为“人”之意义上的、具有自我意识的女人,应该建构属于女性自己的世界。因此,可以说她们对“贤妻良母”女性观是全盘抛弃的。通过考察三位作家对“贤妻良母”女性观的不同认识和主张,本文认为比起罗蕙锡和宫本百合子的彻底的颠覆意识,冰心的认识更加客观和透彻,某种程度上更加理性和冷静。她认为“贤妻良母”仅仅是女性的家庭角色,并不包含社会角色,不应该把两者混淆。这一点上,可以说冰心更具有和谐关系中争取女性权益的智慧。
冰心、罗蕙锡、宫本百合子文学作品里都体现了各自的母性意识。从《关于女人》等作品中体现的母性情怀可以看出冰心对母爱的高度赞颂和崇拜。她对母性、母爱、母亲的赞颂,可谓是遍及于创作和行动中。冰心的母性情怀不仅触及伦理亲情,而且追溯生命的本源。罗蕙锡在《做母亲的感想记》中,通过叙述怀孕、待产、生产、抚育等亲身经历,对女性的“母性天性论”提出了疑问,她认为母性之爱不是女性天生具有的,而是在养育孩子的过程中形成的,具有一定的“可燃性”。宫本百合子在《伸子》中对母性的作用给予一定的肯定的同时,还认为把母性论嵌在女性身上等多是为了束缚女性,是唆使女性甘于生殖劳役,为养育子女全面牺牲、丧失自我。
20世纪初,伴随着女权运动在全世界的高涨,具有近代科学文化知识和自主开放意识的冰心、罗蕙锡、宫本百合子在空前开放的文化视野下,带着强烈的时代责任感和忧患意识,自觉地将改造社会的重任置于自己的肩上,真诚、大胆地看取社会与女性,以富有思辨性和哲理性的话语频频冲击父权主义的“神圣”地位,关注了女性接受教育的必要性和等同于男性的平等权利。她们在被男性意识所强化的世俗社会中积极发言,用实际行动来争取女性的话语权。自传体小说由于兼容小说和自传的语调,成为20世纪很多亚洲女性写作的一种较普遍方式。冰心、罗蕙锡、宫本百合子也通过自己的自传体文本,用自己的个体经验表现了时代生活,展示了对独立人格精神的追求,同时将女性独立人格精神的确立、构建、迷失、重建等复杂发展过程和自我的情感世界或对生命的体验真实地呈现在世人面前。
她们在文学作品中所体现的反封建意识、人本意识、女性意识不仅成为20世纪中、韩、日三国女性文学史上的重要组成部分和支脉,而且为整个亚洲文坛也增添了耀眼光芒。
通过以上论述,同时对在动荡和变革交替的1910年代先后各自登上中、韩、日三国文坛的冰心(1900-1999)、罗蕙锡(1896-1948)、宫本百合子(1899-1951)及三者文学作品中体现的女性意识进行了较深入的分析与研究,揭示了三位女性作家作品中反映出的女性意识的共同点与不同点,并从社会背景、家庭环境、个人经历等不同角度对三者文学作品中表现的女性与男权视角、新女性的自我认识与社会参与、女性情怀与母性情怀、女性书写等方面进行了具体分析。该研究不仅可以为三位作家及其文学作品的研究者提供启示，而且对20世纪东亚女性文学比较研究的发展具有积极意义。
The culture of the East Asian countries has been caused more and more attention since with the international status of East Asia increasingly prominent in the economic, political and other aspects. Chinese, Korean and Japanese scholars began regard the East Asian regional as a unit. Discussion and discourse about East Asia began more and more active.
China, South Korea and Japan are in the East Asia, they have much in common in the historical and cultural aspects, especially profound influence of Confucianism in the feudal society of the three countries. The patriarchal system and the feudal era made women's status fall to the bottom and women's dignity vanished. Women of a certain era, always closely associated with the culture of that era. At any era, women are one of the creators of culture. At the same time, a certain culture, always constraints lives of women from a variety of angles.Women of a certain era, in particular cultural covers, live in a specific culture, accept social values, ethics, cosmology determined by this culture, shape their own accordance with this cultural patterns of behavior and social expectations, follow the corresponding cultural ethos, live in the context of certain cultural traditions. In modern society, with the change of social system and the advance of civilization, new ideas and concepts have gradually been accepted. The social ideology also beginning to show a new look. The most notable change was the transformation of women's status. The women's individual consciousness, sense of independence gradually awakened and women began to mature.
Bing Xin (1900-1999), Na Hyesuk (1896-1948) and Miyamoto Yuriko (1899-1951) boarded the literary world at the early20th century of China, Korea and Japan, and became rising stars of the literary world. They were the leaders of female literature to show women's life core in their homeland through reflecting the awareness of women and gender characteristics of female. Their works impacted traditional concepts and outworn dogma and caused more and more attention to female issue.
Female writer of the early20th century had similar experiences and background:First, the opportunity:they grew up in the environment of turmoil and change; second, conditions:many of them grew up in strong feudal families or middle-class families, at the same time accepted the new knowledge and new ideas, formed a special structure of knowledge and cultural literacy; Third, they made some extent of break from old objects, and actively seek new ideal life and the value of life; Fourth, as the object of liberation, they were completely independent subjectively, but could not completely get rid of the shackles of patriarchal culture and influence. Bing Xin, Na Hyesuk and Miyamoto Yuriko were no exception. Their ages were almost same, all born in excellent condition family, had similar education degree. They all lived in the era of turbulent upheaval, experienced and witnessed the East-West cultural contacts, exchanges and collision. With support of forward-thinking family on the issue of women's education, they had opportunity to access to new education and possess the necessary conditions to become the pivotal writers. They disregarded discrimination of traditional culture and kept pursuing new culture. They overcame kinds of difficulties and reflected the experiences in their works.
In May1918, the first vernacular fiction "Diary of a Madman" published by Lu Xun opened the prelude to the "May4th" novel. Bing Xin as the first modern female writer published "Two Families" and a series of short stories in1919reflected marital status, education and career. In January1917, Spring Garden Lee Kwang Su published fiction "Ruthless", which was symbol of the beginning of the Modern Korean fiction. In1918, Na Hyesuk published "Joan Ji". The literary excavations, drawn from reality and the structural characteristics of this work as well as shaping of the character was considered far exceed "Ruthless" which has been published one year before."Joan Ji"was thought to be a female fiction having truly full view of Korea modern fiction.1916,17-year-old Miyamoto Yuriko published""Poor People" reflecting rural life in Central Bulletin and was known as the "prodigy" and attracted attention of the literary world.
Bing Xin's "Two Family"," Autumn winds worry Sharen", Na Hyesuk's " Joan Ji ","Hate "," Always in My Heart ", Yuriko Miyamoto Nobuk's "Nobuko","Two Courtyard" and other works happen to coincide pay attention to female education, marriage and many female social problems; criticism of patriarchal, feudal customs and the old and the new parent rights; avocation for women in the pursuit of freedom; self feminist consciousness. These women writers standed in the forefront of the times, explored the root of misfortune, or defended the dignity of the female personality, or look at the trend of human nature of evil side. Their works were aroused widespread repercussions by the earnest readers and literary critics. Therefore, a similar family background and upbringing as well as the plight of experienced identity as a new female cause them had a lot of similarities in the creation of literary works, offers the possibility for a comparative study.
This thesis using feminist literary theory as the basis, with the help of the theories and methods of Comparative Literature American School Parallel Study, mainly focused on the female consciousness reflected in the novels of the three women writers published in the1910s to the1940s.In order to investigate and analyze comprehensively and systematically, essays, diaries, reviews and other works written during the corresponding period were combined for the comparative analysis of the multi-faceted study and to seek a more comprehensive perspective for the study of the literary works of the three writers.
Female consciousness is based on female gender and opposed to men's emotions and consciousness, covers women's self-examination of history and own destiny, self evaluation and inner experience. This thesis will focus on investigation and analysis of the female consciousness reflected in literary of Bing Xin, Na Hyesuk and Miyamoto Yuriko from the following aspects.
In order to delve into the female consciousness embodied in these works, this thesis first examined the collision and blend between traditional culture and Western culture in the process of modernization of the three East Asian countries, and examined extensive and profound changes in political, economic, cultural and social areas caused by the collision in the three East Asian countries. In addition, this thesis also studied how the East Asian women awakened with the impact of western women emancipation intervention in the various political, social and cultural activities and how East Asian women pursued individual liberation and freedom.
In the mid-19th century, China, Japan and Korea, influenced by Confucian culture for more than two thousand years, were faced with the invasion of the Western powers and opened the doors, opened the road to modernization. These changes ushered women status emancipation, the era of great change in the subsequent late19th century and early20th century in the three East Asian countries.
With the national crisis of unprecedented magnitude and the rise of modern nationalism in China after the Sino-Japanese War, some people on insight realized-save the nation we must first save peoples, that mean creating citizen to meet the needs of the time. To accomplish that, it was necessary that women should have educational opportunities. In this way, the Chinese women's liberation and the fate of the country were related closely. A small number of the first awakened female intellectuals began seriously thought about the value of female subjectivity and pursued and claimed equal rights with men. As one of the first generation of women writers in20th century, Bing Xin accepted the spirit of "May4th". Her works embodied the concern and worry of the nation's destiny. Her "problem novels" included national crisis issues, youth issues, personnel issues, women's issues, family problems, the lower class people and other subject matter. Although it was pointed out that her novels was pan and not fine, which was the common shortcomings of "problem novels", she was indeed the pioneer of the first generation of new literature regarding her novels almost covered most of the problems involved in "problem novel".
Due to the specific limits of the age in Korea, the women's liberation movement did not become a truly anti-imperialist and anti-feudal movement mainstream like in China. In the early20th century, Korea has completely lost the sovereign right of the nation, women's education and women's liberation could not truly become the object of concern of the community. Therefore, women's education and women's reform with goal of saving the nation was difficult to fundamentally change the deep-rooted feudal-patriarchal patriarchal ideology. Faced with such a society, Na Hyesuk proposed women new female morality with her solemn thinking and unique cognitive attention and interpretation of the fate of the Korean women, which was rich flavor of time and with equality between men and woman. Her thoughts reflect the depth and breadth of introspection of traditional gender cultural.
Japan embarked on the road of capitalist development since the Meiji Restoration in1868. Although this bourgeois revolution was not thorough enough, it overthrow the rule of the feudal shogunate. Since then, with the Western liberal democratic thought widespread, the movement of questing for a new life and human rights rose up. This awakened a group of women's desire of self-understanding and expression. Grown in this era, Miyamoto Yuriko not only criticized unfair of the patriarchal society but also sincerely pursued female independent personality. It can be said that Miyamoto Yuriko keep on focusing on women's issues during her literary career.
In early20th century, people's sense of freedom was constantly awakening in the East Asian society with the claim of equality, freedom and individuality liberated, resulting in the dominant concept of patriarchal culture in old feudal family began loosening up. The oppression of feudal patriarchal parents on their children was more intensified. The feudal patriarchal parents tighten the yoke sets on education, marriage and other issues of their children with the name of "care" and interference everything.
Works of Bing Xin, Na Hyesuk and Miyamoto Yuriko deeply reflected the reflection and criticism of feudal patriarchal. In old feudal families, authoritarian and outrageous fathers or mothers imposed their own values to their children as the patriarchal law enforcement by the name of "concern" children,, and gross interference in the child's life choices. In the course of history, the feudal patriarchal deeply oppressed the younger generation of China, Korea and Japan. The young people lost the freedom of marriage and right of education. Works of Bing Xin's and Na Hyesuk Yuriko presented figure of arbitrary and imperious feudalism fathers. Feudal fathers either refused pay tuition to deprive the rights of children to continue their education or arranged marriage despite their daughter's idea. Nobuko Miyamoto Yuriko focused on the image of the mother as the spokesman of the patriarchal and even law enforcement. As can be seen, the Bing Xin and Na Hyesuk's works strongly criticized arbitrary and imperious feudalism fathers while works of Miyamoto Yuriko put mother on the position which was the symbol of value system to be challenged. In addition, for the same profound contradiction, conflict presented by Bing Xin's novel was relatively flat while the novels of Na Hyesuk and Miyamoto Yuriko rendered relatively intense conflict.
What was worth mentioning is these novels showed a complex trend in relationship between female and feudal male. Although feudal father was the object of criticism by women, feudal husband was object of sympathy and pity by women. Three writers illustrate not only women but also inherited patriarchal sons were harmed by patriarchalism. In the novel of Bing Xin and Na Hyesuk, superior environment and ignorance feudal education made sons had not aspirations and ideals of young man. They lived a chaotic daily life, early obeyed to marriages arranged by parents and have a family and children early. They lived comfortable and luxurious life and feudal education, has become very pale and empty in sprit. In a patriarchal society, as the main body of society, in order to maintain the developed social rules-feudal patriarchal system itself, man also had to follow some of these rules. For example, men, as well as women should give the right of marriage to father and mother on behalf of his father. They had to follow the needs of the community, to meet the social requirements of their own. Has became a "social", in essence, it means to abandon as "self. Abandon the "self means to follow a way which may be not their nature lifestyle or the lifestyle they liked to survive. In this sense, in the feudal society, male was not only patriarchal dominator, but also sacrifice. Bing Xin, and Na Hyesuk can brought evils of patriarchal extended to the male, indicating their understanding of the rights of the parent were both dept and bread.
In addition, from overview of the figures of father in the novels of Bing Xin, Na Hyesuk and Miyamoto Yuriko, it can be found that in novels of Bing Xin and Miyamoto Yuriko, in addition to the figures of fathers as the target of the criticism, there were some of the "respectable amiable father"images. The father in Bing Xin's "sea","sacrifice","first party" and Miyamoto Yuriko Nobuko's some novels were this kind. And there were almost impossible to find this "fatherly" image in the novels of Na Hyesuk. This difference due to the different impression left by their fathers. Bing Xin had a very open-minded, kind father. His patriotism impact Bing xin profoundly; it's can also be seen from autobiographical novels of Miyamoto Yuriko that she and her father had deep feelings and intimacy. Na Hyesuk's father was much less enlightened compared to father of Bing Xin and Miyamoto Yuriko. Based on different memories of the father, Bing Xin, Miyamoto Yuriko and Na Hyesuk portrayed different images of fathers. Figures of fathers in novels of Bing Xin and Miyamoto Yuriko had relatively wide perspective, showing a diversity of father; the analysis of the feudal male image in Na Hyesuk's novels was more deeply.
The literature of the three woman writers concerned about women's freedom of love and marriage. Ying Yun of Bing Xin's novel was a new woman received new education, but trapped in a lonely marsh because of the marriage arranged by her parents. New women with certain degree of self-awareness, in fact, did not have a thorough self-consciousness and did not completely get rid of the shackles of feudal thinking. In fact, they had not yet completely faded imprint of the old woman. When conflict with the traditional patriarchal moral, they were still very weak and pessimistic to defend their rights. Thus, Bing Xin shaped the negative new women-Ying Yun, in order to reveal the feudal patriarchal oppression. The figure of Na Hyesuk's novel "Joan Ji" and Yuriko Miyamoto's novel "Nobuko" portrayed distinctive women, full of wisdom and courage. Although they also experienced an inner conflicts and struggles, but in the end they were not obedient feudal parents will and pursue freedom and dreams as the "people". Through the analysis of new women experience of marital problems encountered in three novels, we can draw the similarities and differences in the works. If mention the conflict between the new woman and feudal parents around the marital problems, Bing Xin's work focused on rendered helpless and melancholy heart of the heroine, while Na Hyesuk and Miyamoto Yuriko's works focused on showing struggle to the right of the parent and the women's own inner struggle and contradiction.
Bing Xin, Na Hyesuk and Miyamoto Yuriko concerned about the issue of education in their literature. For example, Bing Xin's "Two Family", Na Hyesuk's "Joan Ji", Miyamoto Yuriko's "Poor People" and other works were referred to the importance and urgency of education. In "Two Family", the education of women were linked to family and nation, proposed women should receive a good education, improve their self-cultivation hence to have a positive impact on families and society. In "Joan Ji", education women was based on the Feminist Perspective for gender inequality in education, reflecting the advocates that women should have equal right and opportunities to receive education like men do. It can be said that Bing Xin and Na Hyesuk claimed importance of female education by the new female characters in their works. Miyamoto Yuriko concerned education of poor people. Japanese women had been universally accepted educational status when Miyamoto Yuriko engaged in creative activities, therefore, the author's concept of education was reflected in the attention to the gap between the rich and the poor, attention to the living conditions of the poor people.
Bing Xin, Na Hyesuk and Miyamoto Yuriko expressed their own knowledge and ideas on the "wife and mother".From Bing Xin's "Family","the autumn autumn unhappy Sharen","my mother" and other works can be seen, although she stressed point of view that women was also "human", and criticized patriarchal society suppressing the awareness of women, but that was relatively inclusive sense of criticism. Therefore, Bing Xin did not completely abandon women's traditional morality, but draw the elements believed to be reasonable and proposed a new "wife and mother" concept. Bing Xin affirmed new women with mature thinking and objective cognitive ability, social respect and recognition. However, Na Hyesuk and Miyamoto Yuriko thought so-called "wife and mother" view of women in feudal patriarchal social framework residues by men according to their own ideological values have set the standard, which purpose was to trapped women in the family that male-dominated private sphere, denied the women's social living space, in fact, sets new shackles in women. Na Hyesuk introduced feminist theory article-"ideal woman" in1914,that was the first time in modern Korean history. She mentioned:'"Good Wife and Mother" is not desirable as the standard of the ideal woman.... Man husband, the man is a father. But it have not been heard yet about'Good Husband and Father'. Why only demond women? even to make a woman with a kind of self-cultivation, it really does not make sense.'gentle,'as the standard of the ideal woman is not desirable". Miyamoto Yuriko advocate women to be self-independence, independent living by myself." Her autobiographical novel "Nobuko "and "courtyard "shaping a new female hero-Nobuko, such as the name, Nobuko is a new women with strong-minded, self-reliance, self-esteem personality and thrive to achieve self. In order to pursue an independent right to life, she determined to give up love and motherly love. Na Hyesuk and Miyamoto Yuriko advocated women should be" human "in the sense, self-conscious women world should be constructed. It's can be say that they abandon their "wife and mother" view of women totally. Compared different perceptions and ideas about three writers "wife and mother" view of women, it's was considered that compared to Na Hyesuk and Miyamoto Yuriko's radical deconstruction of consciousness, Bing Xin's understanding was more objective and thorough, somewhat more rational and calm. She believes that "wife and mother" is just the family roles of women, does not include social role, should not confuse the two.
The literary works of Bing Xin, Na Hyesuk and Miyamoto Yuriko embodied the sense of motherhood. The Bing Xin's praise and worship of motherly love can be seen from maternal feelings reflected from the "Woman" and other works. Her motherhood, maternal love, mother's praise, was indeed in all over her creation and action. Bing Xin's maternal feelings not only touch the ethical affection, but also traced the origin of life. Na Hyesuk questioned "maternal instinct" by describing experience of pregnancy, expectant, production. She believed that the love of motherhood was not born with, but was formed in the process of raising children, was some kind of "flammable". Miyamoto Yuriko given some recognition on maternal role, at the same time she also thought that intention of maternal instinct theory embedded in the female body was to bound women.
At the beginning of20th century, along with the rising feminist movement in the world, Bing Xin, Na Hyesuk and Miyamoto Yuriko, who had modern scientific and cultural knowledge, self-awareness of opening, the unprecedented open culture vision, a strong sense of responsibility and sense of urgency, placed the important task of transforming society on their shoulders. They honestly and boldly looked at society and women, frequently impact patriarchal "sacred" status with rich speculative and philosophical discourse and paid attention to the need of women for education and equal rights of men. They fought for women's right to speak in the enhanced male secular society. Autobiographical novel is compatible with the tone of fiction and it was a common model used by many Asian woman writers at20th century. Bing Xin, Na Hyesuk and Miyamoto Yuriko displayed life of their times through their own autobiographical text and expressed pursuit of independence spirit. They also displayed establishment, construct, lost, reconstruction and other complex development process of Female Independent Personality, and self-emotional world or life experience to the world.
It can be said that literary of Bing Xin, Na Hyesuk and Miyamoto Yuriko, who were the women writers with awakening sense of individuality, embodied in the anti-feudal ideology, people awareness and awareness of women. Their works have not only become the important part of literary history of China, Japan and Korea, but also added a dazzling light to the literary history of whole Asia.
中、韩、日三国同处于东亚,在历史和文化方面有许多共同之处,尤其是中国儒家思想对三国封建社会的影响极其深远,家长制导致封建时代女性地位跌落到谷底,作为人的尊严荡然无存。一定时代的女性,总是同那个时代的文化密切相关。任何时代,女性都是文化的创造者之一。同时,一定的文化,无不以其内在结构从多种角度制约着女性生活。某一时代的女性,在特定的文化涵盖下,在特定的文化氛围里生活、接受这种文化所决定的社会观、价值观、道德观、宇宙观,按照这种文化提供的行为模式和社会期望值塑造自身,并在一定的文化传统背景之下,遵循着相应的文化风习而生活。19世纪末20世纪初,随着社会制度的更迭以及文明的推进,新的思想和观念逐渐被人们所接受,社会意识形态也开始呈现出崭新的面貌,而这些变化中最令人瞩目的便是女性地位的转变。中国、韩国和日本都出现了接受现代教育,追求个性解放,勇于与传统封建道德抗争的新女性。她们谋求新的身份认同,她们开拓了女性自己的话语空间和政治空间,促使更多女性的个体意识、独立意识逐渐觉醒并走向成熟。
冰心(1900-1999)、罗蕙锡(1896-1948)、宫本百合子(1899-1951)在1910年代先后各自登上中、韩、日三国文坛,并成为文坛的一颗耀眼新星。她们是20世纪初通过体现女性意识和性别特征的女性文学分别展示中韩日三国女性生命内核的领军人物。她们以富有思辨性和哲理性的话语冲击长久以来束缚广大女性的传统观念和陈腐教条,使女性问题在传统和近代的碰撞中得到更多的关注,让几千年被搁置于社会边缘的女性群体开始逐渐走向社会的中心。
可以说20世纪初登上文坛的女作家们一般都有类似的经历背景：一是机遇,她们生长在动荡和变革的大环境中,作为“人”之意识在此催发下完全觉醒；二是条件,她们中的许多人来自文化渊源较为浓厚的封建家庭或中产阶级家庭,同时又接受新知识、新思潮,形成特殊的知识结构与文化素养；三是她们都与旧事物做出某种程度的决裂,积极寻求新的理想生活和人生价值；四是作为解放的对象,她们在主观上是完全独立的,但是在客观现实中,还无法完全摆脱父权文化的束缚和影响。冰心、罗蕙锡、宫本百合子也不例外。她们年龄相差无几,都出生在条件优越的家庭,接受的教育程度也相仿；她们都生活在动荡激变的年代,经历和目睹了东西方文化的大接触、大交流、大冲撞,同时有了在女子教育问题上具有一定超前意识的家人的支持,所以有幸成为接受新式教育的时代宠儿,具备了日后成为中韩日三国文坛举足轻重的女性作家的必要条件。她们不断祛除歧视、束缚女性的观念、陋习等传统文化中的糟粕,积极追求新文化、新思想,以刚毅的性格和对学问的执着战胜了来自社会和家庭的种种困难。并把这一时期的经历都多少写入了自己的文学作品中。
1918年5月,由鲁迅发表的第一篇白话短篇小说《狂人日记》拉开了“五四”小说的序幕。之后,冰心作为近代女性作家第一人,1919年发表了《两个家庭》等一系列反映婚姻、教育、事业的短篇小说,由此正式开创了“问题小说”之风气。1917年1月,春园李光洙发表了象征韩国近代小说开端的长篇小说《无情》。罗蕙锡于1918年发表的《琼姬》被文坛发掘之后,在取材的现实性、作品的结构特征以及塑造的人物性格等方面都被认为远远超过早一年发表的《无情》,是一部真正具有韩国近代小说全貌的女性近代小说。1916年,17岁的宫本百合子在《中央公报》上发表了处女作,即以农村生活为题材的《贫穷的人们》,轰动了日本文坛,并被称为“天才少女”,受到了当时文坛的广泛关注。
冰心的《两个家庭》、《秋风秋雨愁煞人》,罗蕙锡的《琼姬》、《怨恨》、《闺怨》,宫本百合子的《伸子》、《两个庭院》等作品不约而同地把目光投向女性的教育、婚姻、价值等众多女性社会问题,批判男尊女卑等封建习俗和新旧父法夫权,并倡导女性追求自由和崇尚自我的新女性意识。三位女作家站在时代的潮头,或探究造成女性不幸的根源,或捍卫女性人格的尊严或审视人性趋恶的一面,她们的作品一问世,便很快在社会上引起广泛反响,受到了许多读者的热烈欢迎和文学评论界的热切关注。因此,相似的家庭出身和成长经历以及作为新女性所经历的身份认同的困境使她们创作的文学作品里有了很多相似之处,为进行比较研究提供了可能性。
本文以女性主义文学理论为依托,借助比较文学美国学派平行研究的有关理论和方法,主要考察三位女作家在1910年代至1940年代创作发表的小说中体现出来的女性意识,为了能够更加全面、系统地进行考察分析,结合相应时期撰写的随笔、日记、评论等作品,以便进行多方位的比较分析,谋求为三位作家的文学作品研究提供一个较全面的视角。
女性意识是指建立在女性性别之上的、有别于男性的情感和意识,它涵盖着女性对历史、自身命运的反思以及价值自审、内在体验等内容。本文从以下几个方面对冰心、罗蕙锡、宫本百合子的文学作品中体现出的女性意识进行着重考察和分析。
为了深入探究作品中体现的女性意识,本文先考察了东亚三国在近代化过程中所发生的传统文化与西方文化之间的碰撞与交融,并考察这一冲击在东亚三国都引起了哪些政治、经济、文化等社会各领域的广泛而深刻的变革,之后再分析在中西文化碰撞的时代背景下,受到西方女性解放思想影响的东亚三国的女性如何从一个受压迫、受歧视的群体,开始觉醒,结束“目不识丁,足不出户”的历史,从闺房走向社会,参预各种政治和社会文化活动,追求个性解放,追求自由。
19世纪,深受儒家文化影响的中日韩三国都面临西方列强的入侵,被迫打开国门,开启现代化之路。随后的19世纪末20世纪初,便迎来了东亚三国女性身份地位大解放、大变革的时代。
在中国,甲午战争后随着民族危机的空前严重以及近代民族主义的兴起,一些有识之士认识到——救国就要先救人,即造就符合时代需要的新国民.而要做到这一点,就必须使占人口一半的女性得到受教育的机会,废除缠足等恶习.他们认识到了解除女性所受重压的必要性和迫切性。这样,中国女性的解放与国家、民族的命运紧密地联系了起来。随着女性问题的提出,少数率先觉醒的女知识分子开始对女性主体性价值进行认真的思考,并追求和伸张与男性平等的权利.作为“五·四”光芒直接辉映下的20世纪第一代女性作家,冰心在精神上必然接受过“五·四”的洗礼。在黑暗重压下,她与当时许多男性作家一样,带着悲愤之情勉力向前,向旧的传统势力发起冲击,这就自然使作品带有许多对国家、对民族命运的关切和忧患。她的“问题小说”包括了国难问题、青年问题、人才问题、妇女问题、家庭问题、下层劳动人民等多种题材。因此即使被指具有“问题小说”泛而不精的普遍缺点,但是从其几乎囊括“问题小说”所涉及的大部分问题的成就来讲,不愧是中国“新文学的第一代开拓者”。
韩国因当时特定时代的限制,女性解放运动并没有像中国成为名符其实的反帝反封建运动中的一大主流。20世纪初的韩国已完全丧失国权,女性教育、女性解放等问题本身无法真正成为社会所关注的对象,因此,以救国为目标的女性教育、女性改革很难从根本上改变根深蒂固的封建陋习——父权制的男尊女卑思想。面对这样的现实社会,罗蕙锡以其冷峻的思考能力和独特的认知方式关注和诠释韩国女性的命运,提出了富有时代气息、具有男女平等的新型女性道德观。她的这些思想反映了对传统性别文化反思的深度和广度,其表现的锋芒锐气,不仅震惊当时,在一个世纪后的今天也颇有启发意义。
在日本,1868年明治维新使得日本走上了发展资本主义的道路,这场资产阶级革命虽不够彻底,但毕竟推翻了封建的幕府统治。此后,随着西方自由、民主的思想得以广泛传播,人们开始追求新生活,人权运动也随之高涨起来。这也唤醒了一批女性的自我认识和表现的欲望。在这样的时代环境中成长的宫本百合子以敏锐的观察力和感受性,站在女性的立场,挖掘男权社会的不公平的同时,执着追求女性独立人格。可以说,宫本百合子对女性问题的关注一直贯彻其文学创作生涯的始终。
到20世纪初,东亚三国的社会随着平等、自由、个性解放的呼声日渐高涨,人的自由意识不断觉醒,致使中韩日三国封建旧式家庭的父权文化观念的主宰地位开始逐渐松动起来。在这样一个新旧世界交替的变革期,以父权为代表的封建家长制对子女的压迫更加变本加厉。封建家长以“关心”和“关爱”的名义,勒紧套在子女身上的枷锁,在教育、婚姻等问题上事事干涉,事事阻挠。
冰心、罗蕙锡、宫本百合子的作品中都深深体现了对封建家长制的反思与批判。旧式封建家庭里,专制蛮横的父亲或者代行父权执法的母亲以“关心”子女为名,把自己的价值观强加给子女,对子女的人生选择进行粗暴干涉。在历史的长河中,封建家长制深深地压迫着中韩日三国的年轻一代,让他们失去了婚姻自由、接受教育等许多作为一个“人”的权利。冰心的《斯人独憔悴》、《秋风秋雨愁煞人》,罗蕙锡的《琼姬》、《闺怨》、《怨恨》,宫本百合子的《伸子》等小说都呈现了围绕教育、婚姻问题发生的父母与子女之间不可调和的矛盾和冲突,以此反映在封建家长制的压迫和束缚下,子女作为“人”的尊严荡然无存。冰心的《斯人独憔悴》、《秋风秋雨愁煞人》和罗蕙锡的《琼姬》、《闺怨》、《怨恨》中着重描绘的是独断专横的封建父亲形象,封建父亲们要么用拒付学费的手段剥夺子女继续求学的权利,要么不顾女儿的想法为她们包办婚姻。而宫本百合子的《伸子》中着重描绘的是被父系文化观念所同化,成为男权代言人甚至执法者的母亲的形象。可以看出,冰心和罗蕙锡的作品中,通过揭发以‘关心’和‘爱’的名义压迫、束缚子女的封建父亲的真正意图,体现了作家对父权独断专横的强烈的批判意识。而宫本百合子的作品里把母亲放置于要挑战的价值体系的象征的位置,透露出迂回的批判性。此外,三位作家在针对同样深刻的矛盾时,冰心的小说呈现的冲突相对平缓,而罗蕙锡和宫本百合子的小说呈现的冲突相对激烈一些。
值得一提的是冰心、罗蕙锡、宫本百合子的小说里,女性与“封建男性”的关系层面上也呈现出复杂的趋向。比起“封建父亲”是女性批判的对象,“封建丈夫”却成了女性同情和怜悯的对象。三位作家似乎都以女性天然的“母性之爱”把男性策略性的倒置于被同情、被启蒙的位置中,以此来说明受父权主义弊害的不仅有女性,还有继承父权思想的封建儿子们。在冰心和罗蕙锡的小说中,优越的物质环境和愚昧的封建教育使儿子们早已没有了年轻男子该有的志气和理想,每天过着浑沌的日子,早早地顺从父母包办的婚姻,乖乖地娶妻成家,生儿育女。从小过着养尊处优的他们,接受的是完整的封建教育,精神上已变得十分苍白和空虚。在一个以男权为中心的社会,作为主体的男性若要维护自己制定的社会规则——封建宗法制度,自身也好遵循其中的部分规则。比如,和女性一样要把择偶权双手拱让给父亲和代表父权的母亲。他们要遵循社会的需求,满足社会对自己的要求。而成为“社会之人”,本质上来讲就意味着要抛弃作为“自我”的人。抛弃“自我”,就是需要按照一种未必是他们的天性或本性所喜欢或需要的生活方式生存着。所以从这个意义上讲,封建社会的男性既是父权主义的主宰者,也是牺牲者。冰心和罗蕙锡能把父权带来的弊害延伸到男性自身,说明她们对父权的认识是既有深度又有广度。有所区别的是对男性的同情虽然都是以妻子的视角来表现的,但是冰心笔下的女性同情丈夫更多的是出于对封建家庭的教育方式及封建制度的批判,是正面视角；而罗蕙锡笔下的女性则是无知的“旧女性”出于女性善良之本性同情丈夫,是反面视角。显然罗蕙锡以无知的“旧女性”视角同情男性更具有讽刺性。在宫本百合子的小说中,伸子明知道佃性格忧郁,有懦弱阴暗的一面,却因同情而主动提出结婚说明她的内心和潜意识里隐藏着天然的‘母性之爱’,而进一步挖掘就可以辨析作家把封建文化制度下的强者和弱者倒置的无意识意图。
此外,综观冰心、罗蕙锡、宫本百合子小说中的父亲形象,可以发现冰心和宫本百合子的小说除了作为被批判对象的父亲形象之外,同时还有一些“可敬可亲”的“慈父”形象。如：冰心的《海上》、《小家庭制度下的牺牲》、《第一次宴会》和宫本百合子的《伸子》等作品中父亲无不是“恩慈”有加。而罗蕙锡的小说里几乎找不到这种“慈父”形象。形成这种对“父亲”话语立场上的不同,与她们成长中留下的对父亲的印象不无关系。冰心有位非常开明、慈祥的父亲。在成长过程中,父亲的爱国、进步思想曾对她产生了深刻的影响；宫本百合子的自传体小说中也可以看出她与父亲之间的深厚感情和亲密关系。而罗蕙锡的父亲远没有冰心和宫本百合子的父亲开明、进步。仅从罗蕙锡的父亲娶了比罗蕙锡大一岁的年轻女性作小妾一事就可以知道是一位父权思想浓厚的男性。能把女儿送出国外继续深造,也只是因为略懂得女人有点知识不吃亏的浅层面上的认识,是出于让女儿具备将来成为富人家长儿媳的“文化素养”的需要。这种对父亲的不同记忆使冰心、宫本百合子和罗蕙锡刻画了不同的父亲形象。因此,冰心、宫本百合子小说的男性形象相对来说视角比较宽,呈现出多样性；罗蕙锡的小说则对封建男性形象的剖析更加深入一些。
三位女作家在文学作品中都关注了女性的自由恋爱和婚姻问题。冰心的《秋风秋雨愁煞人》里的主人公英云虽然是受过新式教育的新女性,但是因被父母包办的婚姻陷于寂寞的沼泽中。所以,像英云这样具有一定文化程度和自我意识的新女性,其实是还未做到彻底的觉悟,并未完全摆脱封建思想的束缚,实际上还未完全褪去旧女性的印记。当与以男权为中心的传统道德发生冲突时,在捍卫自己的权利上仍然很柔弱和悲观。因此,冰心塑造了消极型新女性——英云,是为了揭示在封建家长制的压迫下,即使是新女性也无法避开或抗争被压迫、被束缚的命运的事实,对女性来说究其实质就是新的“旧女性式”悲哀。而罗蕙锡的《琼姬》和宫本百合子的《伸子》刻画的新女性个性鲜明,充满睿智和勇气。虽然她们也经历了一场内心的矛盾和挣扎,但最终都没有顺从封建家长的旨意,而是勇敢地选择和追求作为“人”的自由和梦想。通过考察和分析三位女作家作品中新女性在婚姻问题上的经验遭遇,可以得出作品中侧重点的异同。围绕婚姻问题发生的新女性和封建家长之间的冲突,可以说冰心的作品侧重呈现的是女主人公心里的无奈和惆怅,罗蕙锡和宫本百合子的作品则侧重呈现了对父权(母代父权)的抗争和新女性自身内心的斗争和矛盾。
冰心、罗蕙锡、宫本百合子在文学作品中都关注了教育问题。例如,冰心的《两个家庭》,罗蕙锡的《琼姬》,宫本百合子的《贫穷的人们》等作品都提到了教育的重要性和迫切性。其中,冰心的《两个家庭》里,女性的教育问题与家庭和国家的层面联系在一起,体现了女性应该接受良好的教育,提高自身的修养,这样才能给家庭和社会带来积极影响的主张。罗蕙锡的《琼姬》里,女性的教育问题是基于女性主义视角提出的针对教育问题中的性别不平等,体现了女性应享有与男子平等的受教育权利和机会的主张。可以说,冰心和罗蕙锡通过各自作品中的新女性人物提出了女性受教育的重要性,她们以身作则,把教育付诸于实践,并参与到社会活动之中,具有鲜明的启蒙特征和意义。而宫本百合子与冰心和罗蕙锡不同,她关注的是贫民阶层的教育问题。这与宫本百合子从事创作活动时日本女性已经普遍接受教育的状况有关系。因此,作者的教育观体现在关注贫富差距,关注贫民阶层的生活状态的小说——《贫穷的人们》,以此体现了作者强烈的社会责任意识和人文情怀。
冰心、罗蕙锡、宫本百合子在各自的文学作品里都对19世纪末20世纪初提出的“贤妻良母”女性观表达了自己的认识和主张。从冰心的《两个家庭》、《秋风秋雨愁煞人》、《我的母亲》等作品中可以看出,她虽然强调女性也是“人”的观点,并批评压制女性“人”之意识的男权社会,但那是相对蕴含一定包容性的批判意识。因此,冰心对女性的传统道德——“贤妻良母”的标准也没有完全摒弃,而是吸取了其中认为合理的要素,提出了一个新的“贤妻良母”观。冰心给予肯定的女性是具有成熟的思想和客观的现实认知能力,得到社会的尊重和认可的新女性。而都曾受到过日本女性解放思潮最前沿的《青踏》派影响的罗蕙锡和宫本百合子认为所谓“贤妻良母”女性观是在封建家长制残留的社会框架下,由男性根据自己的思想价值观定下的标准,其目的是为了把女性束缚在家庭这个由男性支配的私人领域,抹杀女性的社会生活空间,实际上是套在女性身上的新的枷锁。罗蕙锡在1914年发表的韩国近代史上第一次介绍女权论的文章——《理想的妇人》一文中提到：“把‘良妻贤母’作为理想女性的标准是不可取的。…男人是夫,男人也是父。但还未曾听说过有‘良夫贤父’之说。为什么只对女性提以要求?即使是为了让女人具备一种修养,也实在是没有什么意义。还有把‘温良柔顺’作为理想女性的标准也是不可取的。其实,这是为了把女人变成奴隶而冠以‘理想’之名。”宫本百合子主张女性“要自立,自主地活出自我”。她在自传体小说《伸子》和《两个庭院》中塑造了新女性主人公——伸子,如名字一样,伸子是一个有主见、有自强自立自尊人格,并茁壮成长实现自我的新女性。为了事业,为了追求独立的生存权,她毅然决然地放弃爱情和母爱。由此可见,罗蕙锡和宫本百合子都反对女性做“贤妻良母”,主张女性应成为“人”之意义上的、具有自我意识的女人,应该建构属于女性自己的世界。因此,可以说她们对“贤妻良母”女性观是全盘抛弃的。通过考察三位作家对“贤妻良母”女性观的不同认识和主张,本文认为比起罗蕙锡和宫本百合子的彻底的颠覆意识,冰心的认识更加客观和透彻,某种程度上更加理性和冷静。她认为“贤妻良母”仅仅是女性的家庭角色,并不包含社会角色,不应该把两者混淆。这一点上,可以说冰心更具有和谐关系中争取女性权益的智慧。
冰心、罗蕙锡、宫本百合子文学作品里都体现了各自的母性意识。从《关于女人》等作品中体现的母性情怀可以看出冰心对母爱的高度赞颂和崇拜。她对母性、母爱、母亲的赞颂,可谓是遍及于创作和行动中。冰心的母性情怀不仅触及伦理亲情,而且追溯生命的本源。罗蕙锡在《做母亲的感想记》中,通过叙述怀孕、待产、生产、抚育等亲身经历,对女性的“母性天性论”提出了疑问,她认为母性之爱不是女性天生具有的,而是在养育孩子的过程中形成的,具有一定的“可燃性”。宫本百合子在《伸子》中对母性的作用给予一定的肯定的同时,还认为把母性论嵌在女性身上等多是为了束缚女性,是唆使女性甘于生殖劳役,为养育子女全面牺牲、丧失自我。
20世纪初,伴随着女权运动在全世界的高涨,具有近代科学文化知识和自主开放意识的冰心、罗蕙锡、宫本百合子在空前开放的文化视野下,带着强烈的时代责任感和忧患意识,自觉地将改造社会的重任置于自己的肩上,真诚、大胆地看取社会与女性,以富有思辨性和哲理性的话语频频冲击父权主义的“神圣”地位,关注了女性接受教育的必要性和等同于男性的平等权利。她们在被男性意识所强化的世俗社会中积极发言,用实际行动来争取女性的话语权。自传体小说由于兼容小说和自传的语调,成为20世纪很多亚洲女性写作的一种较普遍方式。冰心、罗蕙锡、宫本百合子也通过自己的自传体文本,用自己的个体经验表现了时代生活,展示了对独立人格精神的追求,同时将女性独立人格精神的确立、构建、迷失、重建等复杂发展过程和自我的情感世界或对生命的体验真实地呈现在世人面前。
她们在文学作品中所体现的反封建意识、人本意识、女性意识不仅成为20世纪中、韩、日三国女性文学史上的重要组成部分和支脉,而且为整个亚洲文坛也增添了耀眼光芒。
通过以上论述,同时对在动荡和变革交替的1910年代先后各自登上中、韩、日三国文坛的冰心(1900-1999)、罗蕙锡(1896-1948)、宫本百合子(1899-1951)及三者文学作品中体现的女性意识进行了较深入的分析与研究,揭示了三位女性作家作品中反映出的女性意识的共同点与不同点,并从社会背景、家庭环境、个人经历等不同角度对三者文学作品中表现的女性与男权视角、新女性的自我认识与社会参与、女性情怀与母性情怀、女性书写等方面进行了具体分析。该研究不仅可以为三位作家及其文学作品的研究者提供启示，而且对20世纪东亚女性文学比较研究的发展具有积极意义。
The culture of the East Asian countries has been caused more and more attention since with the international status of East Asia increasingly prominent in the economic, political and other aspects. Chinese, Korean and Japanese scholars began regard the East Asian regional as a unit. Discussion and discourse about East Asia began more and more active.
China, South Korea and Japan are in the East Asia, they have much in common in the historical and cultural aspects, especially profound influence of Confucianism in the feudal society of the three countries. The patriarchal system and the feudal era made women's status fall to the bottom and women's dignity vanished. Women of a certain era, always closely associated with the culture of that era. At any era, women are one of the creators of culture. At the same time, a certain culture, always constraints lives of women from a variety of angles.Women of a certain era, in particular cultural covers, live in a specific culture, accept social values, ethics, cosmology determined by this culture, shape their own accordance with this cultural patterns of behavior and social expectations, follow the corresponding cultural ethos, live in the context of certain cultural traditions. In modern society, with the change of social system and the advance of civilization, new ideas and concepts have gradually been accepted. The social ideology also beginning to show a new look. The most notable change was the transformation of women's status. The women's individual consciousness, sense of independence gradually awakened and women began to mature.
Bing Xin (1900-1999), Na Hyesuk (1896-1948) and Miyamoto Yuriko (1899-1951) boarded the literary world at the early20th century of China, Korea and Japan, and became rising stars of the literary world. They were the leaders of female literature to show women's life core in their homeland through reflecting the awareness of women and gender characteristics of female. Their works impacted traditional concepts and outworn dogma and caused more and more attention to female issue.
Female writer of the early20th century had similar experiences and background:First, the opportunity:they grew up in the environment of turmoil and change; second, conditions:many of them grew up in strong feudal families or middle-class families, at the same time accepted the new knowledge and new ideas, formed a special structure of knowledge and cultural literacy; Third, they made some extent of break from old objects, and actively seek new ideal life and the value of life; Fourth, as the object of liberation, they were completely independent subjectively, but could not completely get rid of the shackles of patriarchal culture and influence. Bing Xin, Na Hyesuk and Miyamoto Yuriko were no exception. Their ages were almost same, all born in excellent condition family, had similar education degree. They all lived in the era of turbulent upheaval, experienced and witnessed the East-West cultural contacts, exchanges and collision. With support of forward-thinking family on the issue of women's education, they had opportunity to access to new education and possess the necessary conditions to become the pivotal writers. They disregarded discrimination of traditional culture and kept pursuing new culture. They overcame kinds of difficulties and reflected the experiences in their works.
In May1918, the first vernacular fiction "Diary of a Madman" published by Lu Xun opened the prelude to the "May4th" novel. Bing Xin as the first modern female writer published "Two Families" and a series of short stories in1919reflected marital status, education and career. In January1917, Spring Garden Lee Kwang Su published fiction "Ruthless", which was symbol of the beginning of the Modern Korean fiction. In1918, Na Hyesuk published "Joan Ji". The literary excavations, drawn from reality and the structural characteristics of this work as well as shaping of the character was considered far exceed "Ruthless" which has been published one year before."Joan Ji"was thought to be a female fiction having truly full view of Korea modern fiction.1916,17-year-old Miyamoto Yuriko published""Poor People" reflecting rural life in Central Bulletin and was known as the "prodigy" and attracted attention of the literary world.
Bing Xin's "Two Family"," Autumn winds worry Sharen", Na Hyesuk's " Joan Ji ","Hate "," Always in My Heart ", Yuriko Miyamoto Nobuk's "Nobuko","Two Courtyard" and other works happen to coincide pay attention to female education, marriage and many female social problems; criticism of patriarchal, feudal customs and the old and the new parent rights; avocation for women in the pursuit of freedom; self feminist consciousness. These women writers standed in the forefront of the times, explored the root of misfortune, or defended the dignity of the female personality, or look at the trend of human nature of evil side. Their works were aroused widespread repercussions by the earnest readers and literary critics. Therefore, a similar family background and upbringing as well as the plight of experienced identity as a new female cause them had a lot of similarities in the creation of literary works, offers the possibility for a comparative study.
This thesis using feminist literary theory as the basis, with the help of the theories and methods of Comparative Literature American School Parallel Study, mainly focused on the female consciousness reflected in the novels of the three women writers published in the1910s to the1940s.In order to investigate and analyze comprehensively and systematically, essays, diaries, reviews and other works written during the corresponding period were combined for the comparative analysis of the multi-faceted study and to seek a more comprehensive perspective for the study of the literary works of the three writers.
Female consciousness is based on female gender and opposed to men's emotions and consciousness, covers women's self-examination of history and own destiny, self evaluation and inner experience. This thesis will focus on investigation and analysis of the female consciousness reflected in literary of Bing Xin, Na Hyesuk and Miyamoto Yuriko from the following aspects.
In order to delve into the female consciousness embodied in these works, this thesis first examined the collision and blend between traditional culture and Western culture in the process of modernization of the three East Asian countries, and examined extensive and profound changes in political, economic, cultural and social areas caused by the collision in the three East Asian countries. In addition, this thesis also studied how the East Asian women awakened with the impact of western women emancipation intervention in the various political, social and cultural activities and how East Asian women pursued individual liberation and freedom.
In the mid-19th century, China, Japan and Korea, influenced by Confucian culture for more than two thousand years, were faced with the invasion of the Western powers and opened the doors, opened the road to modernization. These changes ushered women status emancipation, the era of great change in the subsequent late19th century and early20th century in the three East Asian countries.
With the national crisis of unprecedented magnitude and the rise of modern nationalism in China after the Sino-Japanese War, some people on insight realized-save the nation we must first save peoples, that mean creating citizen to meet the needs of the time. To accomplish that, it was necessary that women should have educational opportunities. In this way, the Chinese women's liberation and the fate of the country were related closely. A small number of the first awakened female intellectuals began seriously thought about the value of female subjectivity and pursued and claimed equal rights with men. As one of the first generation of women writers in20th century, Bing Xin accepted the spirit of "May4th". Her works embodied the concern and worry of the nation's destiny. Her "problem novels" included national crisis issues, youth issues, personnel issues, women's issues, family problems, the lower class people and other subject matter. Although it was pointed out that her novels was pan and not fine, which was the common shortcomings of "problem novels", she was indeed the pioneer of the first generation of new literature regarding her novels almost covered most of the problems involved in "problem novel".
Due to the specific limits of the age in Korea, the women's liberation movement did not become a truly anti-imperialist and anti-feudal movement mainstream like in China. In the early20th century, Korea has completely lost the sovereign right of the nation, women's education and women's liberation could not truly become the object of concern of the community. Therefore, women's education and women's reform with goal of saving the nation was difficult to fundamentally change the deep-rooted feudal-patriarchal patriarchal ideology. Faced with such a society, Na Hyesuk proposed women new female morality with her solemn thinking and unique cognitive attention and interpretation of the fate of the Korean women, which was rich flavor of time and with equality between men and woman. Her thoughts reflect the depth and breadth of introspection of traditional gender cultural.
Japan embarked on the road of capitalist development since the Meiji Restoration in1868. Although this bourgeois revolution was not thorough enough, it overthrow the rule of the feudal shogunate. Since then, with the Western liberal democratic thought widespread, the movement of questing for a new life and human rights rose up. This awakened a group of women's desire of self-understanding and expression. Grown in this era, Miyamoto Yuriko not only criticized unfair of the patriarchal society but also sincerely pursued female independent personality. It can be said that Miyamoto Yuriko keep on focusing on women's issues during her literary career.
In early20th century, people's sense of freedom was constantly awakening in the East Asian society with the claim of equality, freedom and individuality liberated, resulting in the dominant concept of patriarchal culture in old feudal family began loosening up. The oppression of feudal patriarchal parents on their children was more intensified. The feudal patriarchal parents tighten the yoke sets on education, marriage and other issues of their children with the name of "care" and interference everything.
Works of Bing Xin, Na Hyesuk and Miyamoto Yuriko deeply reflected the reflection and criticism of feudal patriarchal. In old feudal families, authoritarian and outrageous fathers or mothers imposed their own values to their children as the patriarchal law enforcement by the name of "concern" children,, and gross interference in the child's life choices. In the course of history, the feudal patriarchal deeply oppressed the younger generation of China, Korea and Japan. The young people lost the freedom of marriage and right of education. Works of Bing Xin's and Na Hyesuk Yuriko presented figure of arbitrary and imperious feudalism fathers. Feudal fathers either refused pay tuition to deprive the rights of children to continue their education or arranged marriage despite their daughter's idea. Nobuko Miyamoto Yuriko focused on the image of the mother as the spokesman of the patriarchal and even law enforcement. As can be seen, the Bing Xin and Na Hyesuk's works strongly criticized arbitrary and imperious feudalism fathers while works of Miyamoto Yuriko put mother on the position which was the symbol of value system to be challenged. In addition, for the same profound contradiction, conflict presented by Bing Xin's novel was relatively flat while the novels of Na Hyesuk and Miyamoto Yuriko rendered relatively intense conflict.
What was worth mentioning is these novels showed a complex trend in relationship between female and feudal male. Although feudal father was the object of criticism by women, feudal husband was object of sympathy and pity by women. Three writers illustrate not only women but also inherited patriarchal sons were harmed by patriarchalism. In the novel of Bing Xin and Na Hyesuk, superior environment and ignorance feudal education made sons had not aspirations and ideals of young man. They lived a chaotic daily life, early obeyed to marriages arranged by parents and have a family and children early. They lived comfortable and luxurious life and feudal education, has become very pale and empty in sprit. In a patriarchal society, as the main body of society, in order to maintain the developed social rules-feudal patriarchal system itself, man also had to follow some of these rules. For example, men, as well as women should give the right of marriage to father and mother on behalf of his father. They had to follow the needs of the community, to meet the social requirements of their own. Has became a "social", in essence, it means to abandon as "self. Abandon the "self means to follow a way which may be not their nature lifestyle or the lifestyle they liked to survive. In this sense, in the feudal society, male was not only patriarchal dominator, but also sacrifice. Bing Xin, and Na Hyesuk can brought evils of patriarchal extended to the male, indicating their understanding of the rights of the parent were both dept and bread.
In addition, from overview of the figures of father in the novels of Bing Xin, Na Hyesuk and Miyamoto Yuriko, it can be found that in novels of Bing Xin and Miyamoto Yuriko, in addition to the figures of fathers as the target of the criticism, there were some of the "respectable amiable father"images. The father in Bing Xin's "sea","sacrifice","first party" and Miyamoto Yuriko Nobuko's some novels were this kind. And there were almost impossible to find this "fatherly" image in the novels of Na Hyesuk. This difference due to the different impression left by their fathers. Bing Xin had a very open-minded, kind father. His patriotism impact Bing xin profoundly; it's can also be seen from autobiographical novels of Miyamoto Yuriko that she and her father had deep feelings and intimacy. Na Hyesuk's father was much less enlightened compared to father of Bing Xin and Miyamoto Yuriko. Based on different memories of the father, Bing Xin, Miyamoto Yuriko and Na Hyesuk portrayed different images of fathers. Figures of fathers in novels of Bing Xin and Miyamoto Yuriko had relatively wide perspective, showing a diversity of father; the analysis of the feudal male image in Na Hyesuk's novels was more deeply.
The literature of the three woman writers concerned about women's freedom of love and marriage. Ying Yun of Bing Xin's novel was a new woman received new education, but trapped in a lonely marsh because of the marriage arranged by her parents. New women with certain degree of self-awareness, in fact, did not have a thorough self-consciousness and did not completely get rid of the shackles of feudal thinking. In fact, they had not yet completely faded imprint of the old woman. When conflict with the traditional patriarchal moral, they were still very weak and pessimistic to defend their rights. Thus, Bing Xin shaped the negative new women-Ying Yun, in order to reveal the feudal patriarchal oppression. The figure of Na Hyesuk's novel "Joan Ji" and Yuriko Miyamoto's novel "Nobuko" portrayed distinctive women, full of wisdom and courage. Although they also experienced an inner conflicts and struggles, but in the end they were not obedient feudal parents will and pursue freedom and dreams as the "people". Through the analysis of new women experience of marital problems encountered in three novels, we can draw the similarities and differences in the works. If mention the conflict between the new woman and feudal parents around the marital problems, Bing Xin's work focused on rendered helpless and melancholy heart of the heroine, while Na Hyesuk and Miyamoto Yuriko's works focused on showing struggle to the right of the parent and the women's own inner struggle and contradiction.
Bing Xin, Na Hyesuk and Miyamoto Yuriko concerned about the issue of education in their literature. For example, Bing Xin's "Two Family", Na Hyesuk's "Joan Ji", Miyamoto Yuriko's "Poor People" and other works were referred to the importance and urgency of education. In "Two Family", the education of women were linked to family and nation, proposed women should receive a good education, improve their self-cultivation hence to have a positive impact on families and society. In "Joan Ji", education women was based on the Feminist Perspective for gender inequality in education, reflecting the advocates that women should have equal right and opportunities to receive education like men do. It can be said that Bing Xin and Na Hyesuk claimed importance of female education by the new female characters in their works. Miyamoto Yuriko concerned education of poor people. Japanese women had been universally accepted educational status when Miyamoto Yuriko engaged in creative activities, therefore, the author's concept of education was reflected in the attention to the gap between the rich and the poor, attention to the living conditions of the poor people.
Bing Xin, Na Hyesuk and Miyamoto Yuriko expressed their own knowledge and ideas on the "wife and mother".From Bing Xin's "Family","the autumn autumn unhappy Sharen","my mother" and other works can be seen, although she stressed point of view that women was also "human", and criticized patriarchal society suppressing the awareness of women, but that was relatively inclusive sense of criticism. Therefore, Bing Xin did not completely abandon women's traditional morality, but draw the elements believed to be reasonable and proposed a new "wife and mother" concept. Bing Xin affirmed new women with mature thinking and objective cognitive ability, social respect and recognition. However, Na Hyesuk and Miyamoto Yuriko thought so-called "wife and mother" view of women in feudal patriarchal social framework residues by men according to their own ideological values have set the standard, which purpose was to trapped women in the family that male-dominated private sphere, denied the women's social living space, in fact, sets new shackles in women. Na Hyesuk introduced feminist theory article-"ideal woman" in1914,that was the first time in modern Korean history. She mentioned:'"Good Wife and Mother" is not desirable as the standard of the ideal woman.... Man husband, the man is a father. But it have not been heard yet about'Good Husband and Father'. Why only demond women? even to make a woman with a kind of self-cultivation, it really does not make sense.'gentle,'as the standard of the ideal woman is not desirable". Miyamoto Yuriko advocate women to be self-independence, independent living by myself." Her autobiographical novel "Nobuko "and "courtyard "shaping a new female hero-Nobuko, such as the name, Nobuko is a new women with strong-minded, self-reliance, self-esteem personality and thrive to achieve self. In order to pursue an independent right to life, she determined to give up love and motherly love. Na Hyesuk and Miyamoto Yuriko advocated women should be" human "in the sense, self-conscious women world should be constructed. It's can be say that they abandon their "wife and mother" view of women totally. Compared different perceptions and ideas about three writers "wife and mother" view of women, it's was considered that compared to Na Hyesuk and Miyamoto Yuriko's radical deconstruction of consciousness, Bing Xin's understanding was more objective and thorough, somewhat more rational and calm. She believes that "wife and mother" is just the family roles of women, does not include social role, should not confuse the two.
The literary works of Bing Xin, Na Hyesuk and Miyamoto Yuriko embodied the sense of motherhood. The Bing Xin's praise and worship of motherly love can be seen from maternal feelings reflected from the "Woman" and other works. Her motherhood, maternal love, mother's praise, was indeed in all over her creation and action. Bing Xin's maternal feelings not only touch the ethical affection, but also traced the origin of life. Na Hyesuk questioned "maternal instinct" by describing experience of pregnancy, expectant, production. She believed that the love of motherhood was not born with, but was formed in the process of raising children, was some kind of "flammable". Miyamoto Yuriko given some recognition on maternal role, at the same time she also thought that intention of maternal instinct theory embedded in the female body was to bound women.
At the beginning of20th century, along with the rising feminist movement in the world, Bing Xin, Na Hyesuk and Miyamoto Yuriko, who had modern scientific and cultural knowledge, self-awareness of opening, the unprecedented open culture vision, a strong sense of responsibility and sense of urgency, placed the important task of transforming society on their shoulders. They honestly and boldly looked at society and women, frequently impact patriarchal "sacred" status with rich speculative and philosophical discourse and paid attention to the need of women for education and equal rights of men. They fought for women's right to speak in the enhanced male secular society. Autobiographical novel is compatible with the tone of fiction and it was a common model used by many Asian woman writers at20th century. Bing Xin, Na Hyesuk and Miyamoto Yuriko displayed life of their times through their own autobiographical text and expressed pursuit of independence spirit. They also displayed establishment, construct, lost, reconstruction and other complex development process of Female Independent Personality, and self-emotional world or life experience to the world.
It can be said that literary of Bing Xin, Na Hyesuk and Miyamoto Yuriko, who were the women writers with awakening sense of individuality, embodied in the anti-feudal ideology, people awareness and awareness of women. Their works have not only become the important part of literary history of China, Japan and Korea, but also added a dazzling light to the literary history of whole Asia.
引文
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卓如编选,『一片冰心』,北京：人民文学出版社,2002
卓如选编,『冰心读本』,上海：上海教育出版社,1990
陈恕著,『冰心全传』,北京：中国青年出版社,2011
陈丛祥主编,冰心著,『冰心散文集』,北京：人民日报出版社,2004
宫本顕治『宫本百合子の世界』、新日本出版社、1963
宫本顕治、『百合子追想』、新科学社、1955
宫本百合子、『宫本百合子集』现代日本文学全集35、筑摩书房、1954
宫本百合子、『宫本百合子全集』第23卷、新日本出版社、1979
冰心著,巴金名誉主编,『温馨小说』,上海：上海文艺出版社,1991
丁玲,『丁玲自传』,南京：江苏文艺出版社,1996
凯特·米利特著,宋文伟译,『性政治』,南京：江苏人民出版社,2000
孔祥吉,『戊戌维新运动新探J,长沙：湖南人民出版社,1988
李华兴·吴嘉勋编,『梁启超选集』,上海：上海人民出版社,1984
李侃·李时岳等著,『中国近代史1840-1919』,上海：中华书局,2012
李时岳,『义和团运动史论文选』,义和团运动史研究会编,上海：中华书局,1984
钱理群·温儒敏·吴福辉著,『中国现代文学三十年』(修订本),北京：北京大学出版社,1997
王炳根,『永远的爱心冰心』,济南：山东画报出版社,1994
西蒙娜·德·波伏瓦,郑克鲁译,『第二性』,上海：上海译文出版社,2011
肖霞等著,『全球化语境中的日本文学』,济南：山东大学出版社,2009
杨义著,『中国现代小说史』第一卷,北京人民文学出版社,1986
中国妇女：走出家庭www.xiaoshuo-book.db66.com
虞萍、『泳心研究—女性·死·结婚—』、汲古书院、2010
沼沢和子、『宫本百合子论』、武蔵野书房、1993
蔵原惟人、『小林多喜二と宫本百合子』、东方社、1966
中村智子、『百合子めぐり』、未来社、1998
本多秋五、『战时战後の先行者たち』、晶文社、1964
本多秋五、『增补転向文学论』、未来社、1964
除莉，「从谢冰心到秦文君——中国儿童文学中的女性主体意识」，北京师范大学博士论文，2007
除昱彤，「论宫本百合子的文学思想」,黑龙江大学硕士论文,2009
韩莹莹,「论冰心中期的创作」,天津师范大学硕士论文,2004
彭旭,「女性主义视角下的宫本百合子文学」，山东大学硕士论文,2007
乔以钢·刘堃,「“女国民”的兴起：近代中国女性主体身份与文学实践」,南开学报(哲 学社会科学版),2008年04期
石云艳,「不屈的女性——宫本百合子及其笔下的宏子形象J,『日本研究论集』,2000
王金芝,「冰心文学思想研究」,扬州大学硕士论文,2009
王明霞,「爱：在鲁迅与冰心之间互补与共存J,青岛大学硕士论文,2007
文洁若,「宫本百合子和她的创作」,『日语学习与研究J第二期,1991
武侠,「女权思想在近代中国的传播和发展」,『重庆科技学院学报(社会科学版)』,2012第23期
许蓓蓓,「浅析宫本百合子的《宫田神官》」,『青年文学家』第19期,2010
郑宝香,「论日本女作家宫本百合子的长篇小说《伸子》」,『大连大学学报』第一期,2005
郑永福·吕美颐,「关于近代中国“女国民”观念的历史考察」,山西师大学报(社会科学版),2005
周文晓,『五四新女性的角色冲突与文学写作』-以“后五四”时期的女性问题为中心,河南大学硕士学位论文,2012
朱晓芳,「关于女人：女性意识的又一次独特展现」,山西师大学报第34卷,2007
朱晓倩,「论冰心创作中的女性意识」,南通职业大学学报第22卷第1期,2008
朱逸冰,「晴丽与苍凉——冰心、张爱玲比较论」,苏州大学硕士论文,2004
丸山真男、「现代政治の思想と行动」、东京、未来社、1964
虞萍、「冰心の＜两个家庭＞--女性と教育の视点から」、『名古屋大毕中国语学文学论集』16、2004
沼沢和子、「＜伸子＞と＜暗夜行路＞」、『近代文学论』（第七号）、1976
萩野脩二、「谢冰心の作家魂-一片の冰心」、『日本中国学会报』56集、2004
萩野脩二、『谢冰心の研究』、朋友书店、2009
牧野格子、「谢冰心における‘问题’と‘主义’」、『国学院中国学会报』55、2009
② 范们群编,「冰心研究资料索引」,『冰心研究资料』,北京出版社,1984,479页
③ 范伯群编,「冰心研究资料索引」,『冰心研究资料』,北京出版社,1984,479页
④ 范伯群编,「冰心研究资料索引」,『冰心研究资料』,北京出版社,1984,479页
⑤ 茅盾,『茅盾论创作』,上海文艺出版社,1984
⑤ 范伯群·曾华鹏编,『冰心评传』,人民文学出版社,1983
⑥ 卓如,『冰心全传』,河北教育出版社,2002
⑦ 肖凤,『冰心评传』,中国社会出版社,2006
⑧ 陈恕,『冰心全传』,中国青年出版社,2011
① 郝敏.「论冰心散文的创作历程与艺术魅力」,西北师范大学硕士论文,1997李廷姬,「论冰心的小说创作」,西北大学 硕士论文,2000肖曙,「‘爱’和‘美’的不尽追求-冰心创作综论」,福建师范大学硕士论文,2001张周易,「冰心’爱的哲学’的文学成就及其文化意蕴」,西南师范大学硕士论文,2001于树漫,「论冰心的儿童文学创作」,天津师范大学硕士论文,2003韩莹莹,「论冰心中期的创作」,天津帅范大学硕士论文,2004朱逸冰,「晴丽与苍凉——冰心、张爱玲比较论」,苏州大学硕士论文,2004李如萱,「皈依家庭的爱的使者——冰心现代小说的家庭叙述」,华中师范大学硕士论文,2007王明霞,「爱：在鲁迅与冰心之间互补与共存」,青岛大学硕士论文,2007陈莉,「从谢冰心到秦文君——中国儿童文学中的女性主体意识」,北京师范大学博士论文,2007王金芝,「冰心文学思想研究」,扬州大学硕士论文,2009张春波,「冰心“爱”的启蒙及其价值」,宁夏大学硕士论文,2010
③ 萩野惰二、「谢冰心の作家魂-一片の冰心」、『日本中国学会报』56集、2004
萩野脩二、『谢冰心の研究』、朋友书店、2009
虞萍、「冰心の<两个家庭>--女性と教育の视点から」、『名古屋大学中国语学文学论集』16、2004
虞萍、『冰心研究—女性·死·结婚—』、汲古书院、2010
① 本多秋五、『增補転向文学论』、未来社、1964
③ 本多秋五、「宫本百合子—人と作品—」、『战时战后の先行者たち』、新朝社、1964
④ 宫本顕治、『宫本百合子の世界』、新日本出版社、1963
① 蔵原惟人、『小林多喜二と宫本百合子』、东方社、1966
② 中村智子、『百合子めぐり』、未来社、1998
④ 沼沢和子、 『宫本百合子论』、武蔵野书房、1993
⑥ 文洁若,「宫本百合子和她的创作」,『日语学习与研究』第二期,1991石云艳,「不屈的女性——宫本百合子及其笔下的宏子形象」,『日本研究论集』,2000郑宝香,「论日本女作家宫本百合子的长篇小说《仲子》」,『大连大学学报』第一期,2005许蓓蓓,「浅析宫本百合子的《宫田神官》」,『青年文学家』第19期,2010彭旭,「女性主义视角下的宫本百合子文学」,山东大学硕士论文,2007李娜,「宫本百合子的反战意识」,辽宁师范大学硕士论文,2011陈昱彤,「论宫本百合子的文学思想」,黑龙江大学硕士论文,2009
① 李侃·李时岳 等 著,『中国近代史1840-1919』,中华书局,2012,329页
② 李侃·李时岳 等 著,『中国近代史1840-1919』,中华书局,2012,333页
乔以钢,刘堃, 「“女国民”的兴起：近代中国女性主体身份与文学实践」,南开学报(哲学社会科学版),2008年04期,42页
① 冰心,「从五四到四五」,『冰心研究资料』,北京出版社,1984,89-90页
① 丁玲,『丁玲自传』,江苏文艺出版社,1996,23页
② 巴金,『思想不老的人永远年轻』,(原收录至《文艺报》,1988.8.13),卓如编选,『一片冰心』,人民文学出版社,2002,再收录,2页
① 朱成蓉 编,『冰心选集』第一卷 短篇小说,「斯人独憔悴」,四川人民出版社,1983,14-15页
② 朱成蓉 编,『冰心选集』第一卷 短篇小说,「斯人独憔悴」,四川人民出版社,1983,14页
① 朱成蓉编,『冰心选集』第一卷短篇小说,「斯人独憔悴」,四川人民出版社,1983,14页
② “从我有生以来,也没有挨过这样的骂!唉,处在这样黑暗的家庭,还有什么可说的,中国空生了我这个人了。”朱成蓉编,『冰心选集』第一卷短篇小说,「斯人独憔悴」,四川人民出版社,1983,18页
① “出门搔白首,若负平生志,冠盖满京华,斯人独憔悴……”朱成蓉编,『冰心选集』第一卷短篇小说,「斯人独憔悴」,四川人民出版社,1983,20页
② 王炳根编,『永远的爱心 冰心』,山东画报出版社,1994,24页
① 冰心,「斯人独憔悴」,朱成蓉 编,『冰心选集』,第一卷 短篇小说,四川人民出版社,1983,31页
① 「伸子」、『宫本百合子集』、现代日本文学全35、筑摩书房、1954
② 『宫本百合子集』、「心の河」、现代日本文学全集35、筑摩书房、1954、P60
① 冰心,「秋风秋雨愁煞人」,朱成蓉 编,『冰心选集』第一卷 短篇小说,四川人民出版社,1983,31-32页
① 西蒙娜·德·波伏瓦,郑克鲁 译,『第二性』,上海译文出版社,2011
① 范伯群·曾华鹏,『冰心评传』,人民文学出版社,1983
② 乐齐 主编,「秋风秋雨愁煞人」,『讴歌母爱关注人生·冰心小说全集』,中国文联出版公司,1995,16页
① 乐齐 主编,「秋风秋雨愁煞人」,『讴歌母爱关注人生·冰心小说全集』,中国文联出版公司,1995,20页
① 乐齐主编,「秋风秋雨愁煞人」,『讴歌母爱 关注人生·冰心小说全集』,中国文联出版公司,1995,20页
② 离着服务社会的日子,一天一天的近了。要试试这健儿好身手了。『冰心选集』,第一卷短篇小说,「秋风秋雨愁煞人」,四川人民出版社,1983年,27页
② 宫本百合子、『宫本百合子集』现代日本文学全集35、筑摩书房、昭和29年、
① 『冰心选集』,第一卷 短篇小说, 「两个家庭」,四川人民出版社,1983,2页
① 『冰心选集』,第一卷 短篇小说,「两个家庭」,四川人民出版社,1983,5页
① 宫本百合子、「贫しき人々の群」、『宫本百合子集』、筑摩书房、昭和29年、p.16-17
① 冰心,「我的母亲」,『关于女人』,宁夏人民出版社,1980,14页
① 沼沢和子、「<伸子>と<暗夜行路>」、『近代文学论』(第七号),1976.
③ 「伸子」、『宫本百合子集』、现代日本文学全35、筑摩书房、1954,p.161
① 「伸子」、『宫本百合子集』、现代日本文学全35、筑摩书房、1954
① “爱女史对于母性的尊重,对于母职的提倡,是现代妇女运动中最有光辉的色彩。“母性逐渐发展,已成为一个至强至刚的力,人类生活中一切冲突的思想都消融为一,在这母性的中间”雁冰,《爱伦凯的母性论》,《东方杂志》,十七卷,十七号,1920年9月10日,(?).周文晓,《五四新女性的角色冲突与文学写作》-以“后五四”时期的女性问题为中心,河南大学硕士学位论文2012
① 乐齐 主编,「我的母亲」,『冰心小说全集』,中国文联出版公司,1996
② 这些贤妻良母既是自己小家的匡护者,同时也是我们社会和国家这个大家的匡护者。朱晓芳,「关于女人：女性意识的又一次独特展现」,山西师大学报第34卷,2007,P.98
① 杨义 著,『中国现代小说史』第一卷,人民文学出版社,1986,222页
② 冰心 著,巴金 名誉主编,『温馨小说』,上海文艺出版社,1991，1页
① 吴重阳 萧汉栋 鲍秀芬编,冰心著,「文艺丛谈」,『冰心论创作』,上海文艺出版社,1982,116页
① 陈丛祥 主编,冰心 著,「往事(一)」,『冰心散文集』,人民日报出版社,2004，15页
① 冰心,「我的母亲」,『关于女人』,宁夏人民出版社,1980,13页
② 陈恕 著,『冰心全传』,中国青年出版社,2001,16页
③ 其实我在『关于女人』那本书里,虽然说的我的三位弟妇,却已经把我的三个弟弟的性格、爱好等等都已经描写过了。冰心,「我的三个弟弟」,『新编冰心文集J第3卷,商务印书馆国际有限公司,2008,396-402页
① 冰心的小说,喜欢用第一人称,以‘我’作为展开故事的线索,人物和事件都渗透着作者浓烈的情愫。卓如选编,『冰心读本』,上海教育出版社,1990,253页
强弓编, 『冰心散文』,杭州：浙江文艺出版社,2009
范伯群编,『冰心研究资料』,北京：北京出版社,1984
范伯群·曾华鹏,『冰心评传』,北京：人民文学出版社,1983
冰心,『新编冰心文集』第3卷,北京：商务印书馆国际有限公司,2008
冰心,『关于女人』,银川：宁夏人民出版社,1980
朱成蓉编,『冰心选集』 第一卷短篇小说,成都：四川人民出版社,1983
乐齐主编,『讴歌母爱关注人生·冰心小说全集』,北京：中国文联出版公司,1995
吴重阳萧汉栋鲍秀芬编,冰心著,『冰心论创作』,上海：上海文艺出版社,1982
卓如编选,『一片冰心』,北京：人民文学出版社,2002
卓如选编,『冰心读本』,上海：上海教育出版社,1990
陈恕著,『冰心全传』,北京：中国青年出版社,2011
陈丛祥主编,冰心著,『冰心散文集』,北京：人民日报出版社,2004
宫本顕治『宫本百合子の世界』、新日本出版社、1963
宫本顕治、『百合子追想』、新科学社、1955
宫本百合子、『宫本百合子集』现代日本文学全集35、筑摩书房、1954
宫本百合子、『宫本百合子全集』第23卷、新日本出版社、1979
冰心著,巴金名誉主编,『温馨小说』,上海：上海文艺出版社,1991
丁玲,『丁玲自传』,南京：江苏文艺出版社,1996
凯特·米利特著,宋文伟译,『性政治』,南京：江苏人民出版社,2000
孔祥吉,『戊戌维新运动新探J,长沙：湖南人民出版社,1988
李华兴·吴嘉勋编,『梁启超选集』,上海：上海人民出版社,1984
李侃·李时岳等著,『中国近代史1840-1919』,上海：中华书局,2012
李时岳,『义和团运动史论文选』,义和团运动史研究会编,上海：中华书局,1984
钱理群·温儒敏·吴福辉著,『中国现代文学三十年』(修订本),北京：北京大学出版社,1997
王炳根,『永远的爱心冰心』,济南：山东画报出版社,1994
西蒙娜·德·波伏瓦,郑克鲁译,『第二性』,上海：上海译文出版社,2011
肖霞等著,『全球化语境中的日本文学』,济南：山东大学出版社,2009
杨义著,『中国现代小说史』第一卷,北京人民文学出版社,1986
中国妇女：走出家庭www.xiaoshuo-book.db66.com
虞萍、『泳心研究—女性·死·结婚—』、汲古书院、2010
沼沢和子、『宫本百合子论』、武蔵野书房、1993
蔵原惟人、『小林多喜二と宫本百合子』、东方社、1966
中村智子、『百合子めぐり』、未来社、1998
本多秋五、『战时战後の先行者たち』、晶文社、1964
本多秋五、『增补転向文学论』、未来社、1964
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