萧红与姜敬爱小说比较研究
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摘要
萧红(中国,1911-1942)和姜敬爱(韩国,1906-1944)都是在1930年代文坛上脱颖而出的女性作家。萧红出生在中国黑龙江省呼兰县的封建地主家庭,她的代表长篇小说有《呼兰河传》、《生死场》和《马伯乐》；代表短篇小说有《王阿嫂的死》、《小城三月》等；姜敬爱出生在韩国黄海道的一个贫穷农民家庭,代表长篇小说有《人间问题》和《母亲与女儿》,短篇小说有《盐》、《地下村》等。萧红在中国文坛上是非常活跃的作家之一,她的一生极具传奇色彩；姜敬爱在韩国文坛也享有盛誉。虽然国籍不同,她们的一生却极其相似,而这种经历的相似也奠定了创作上的可比性。本文采用比较文学、女性主义文学批评、叙事学等文学批评方法,着重研究了萧红和姜敬爱的作家生平、阶级意识、女性意识上的异同点,并从叙事结构、叙事视角、语言艺术等方面对二者进行了平行比较。根据上述情况,本文主要分为六章。
第二章比较了萧红和姜敬爱的一生与其作品的关联。萧红的一生是与命运抗争的一生。她为了独立和自由,选择了摆脱封建家庭的束缚,忍受了饥饿与病痛的折磨,勇敢地走完了一生。她从自己的痛苦经历出发,去审视和思考底层人民的不幸,并以一己之躯去对抗不合理的一切,追求自认为的“平等的世界”。她超越了阶级和性别,在人类的高度审视自我；超越了肉体的痛苦,深入到人们的精神世界里,竭力挖掘出人之所以存在的真实原因。姜敬爱与萧红不同的是,她出生就体验到了最底层人民的苦难。她深切地体会到了剥削阶级怎样压迫民众,怎样榨取民众的劳动成果。她从无产阶级的阶级意识出发,认为女性的解放也应该从阶级解放开始。她与不合理的社会制度进行了抗争,竭尽全力地整合所有底层的力量与阶级不平等抗衡,以达到解放人类的最终目的。
萧红和姜敬爱的一生充满了艰难和痛苦,她们的生活背景、个人经历、创作道路等等具有很强的相似性,这也为二者之间的比较研究提供了可能。她们所处的1930年代,中韩两国都被日本帝国主义所侵略,在民族矛盾和阶级矛盾最为激烈的时代背景下,广大妇女受到了统治阶级的阶级压迫和封建制度的性别压迫。在双重压迫下,萧红和姜敬爱的阶级意识和女性意识反而得到激发并渐渐显露出来,最终体现在她们的作品中。
第三章比较了萧红和姜敬爱的阶级意识。萧红和姜敬爱都曾被饥饿所侵袭。萧红是在摆脱了封建家庭的束缚之后,而姜敬爱是从出生即开始。正是因为这些贫穷和苦难的记忆,她们的阶级意识逐渐形成；们通过描写底层人民贫穷的生存环境、饥饿和疾病的痛苦煎熬,批判了不合理的社会制度和现象。如,萧红在《看风筝》中较深刻地描写了革命家刘成父亲的穷苦生活。比如,平时他用帽子随意裹着鞋子当枕头用,满屋子的干草则是他唯一的财产等。作品《夜风》中,地主为了保护自己的财产,让长工们在冰冷的冬天里受冻,而长青在寒冷的冬天里,只穿着没有棉絮的透明棉裤受冻着。姜敬爱小说《地下村》和《人间问题》中,穷人住在猪圈不如的家,过着牛马不如的生活。两位作家通过生动描写底层民疾苦,深刻地批判了不合理的社会制度。
萧红在《呼兰河传》中,对房子的拟人化描写生动而真实,地主施舍给穷人的草房可以“动”、“跑”、“垂头”、“响”。穷人住在这样的房子里,也要把仅有的面粉作为房租供给地主,而地主住的房子是富丽堂皇的。姜敬爱的长篇小说《母亲与女人》中,凤艳的家像猪圈,而地主的家像个皇宫。两位作家通过如此鲜明的对比,尖锐地指出地主的豪华生活是压榨穷苦农民而得来的。萧红的作品《王阿嫂的死》中,农民辛辛苦苦晒干的茄子全都进了地主的仓库,地主给王阿嫂的是喂猪的烂土豆。姜敬爱的作品《地下村》中,七星的妹妹没有饭吃,只能吃橡子饭。而橡子饭却很难消化,最终导致她大量吐血。
疾病在萧红和姜敬爱的作品中经常出现,而且作品的各个角落充满着死亡的气息。比如,《生死场》中乱坟岗子就是为了填埋那些无辜生灵的,而死了以后的生灵在阴曹地府也要受上层阶级的剥削。姜敬爱的《地下村》中,没有钱给孩子治病的七星妈妈,听人家的话,把耗子皮敷在七运腐烂的头皮上,导致幼小的七云病情加重而死。显而易见,两位作家同情着穷苦人民,批判剥削阶级。她们通过底层民众的悲惨生活和命运,尖锐地批判了不合理的社会制度。
又如,《生死场》的乱坟岗子和《人间问题》的怨沼是阶级压迫的隐喻,它们揭示了剥削阶级和被压迫阶级之间的对立和矛盾的社会关系图。萧红的小说《手》,讲述着染匠女儿因为长期帮家里做染匠活儿,手经常是黑黑的,在学校里经常受到歧视。作品里王亚明的手象征着劳动人民的手,可以说,该作品勾勒出了上层阶级和底层阶级的关系图,有力地批判了上层阶级的虚伪。姜敬爱的长篇小说《人间问题》所揭示的是地主和佃农之间的关系图,即剥削阶级和被剥削阶级的关系。小说中郑德浩和仙妃爹的关系,就是雇主和长工的关系。而长工仙妃爹把这种不公平的对立关系认为是正常关系,从未提出异议。两位作家把在不平等的社会中只能认命的农民形象描写得淋漓尽致。
萧红和和姜敬爱的作品中民族存亡与反帝斗争的主题较突出。如,萧红的《看风筝》中出现的革命者形象,姜敬爱《烦恼》中的社会主义者形象都表明了作家的反抗意识。萧红《夜风》中,长青和妈妈的觉醒,姜敬爱《解雇》中,金工的觉醒等都表现了底层人民的反抗。可是,这些作品中底层人民的反抗并不是有意识、有组织的反抗是自然反抗,所以他们的反抗未能推翻上层阶级。但是,姜敬爱的小说《父子》中,民众从无意识的反抗转变为有组织的斗争。这表明了两位作家的阶级意识渐渐趋于成熟。
两位作家把视线定格在了最底层人民身上,尤其是最底层中毫无地位的女性身上。萧红的笔墨着重于描写在根深蒂固的封建压迫下女性的悲惨的生活状态及无知、愚昧,顺从或反抗剥削阶级的心理。萧红的阶级意识体现在初期创作中,她的后期创作更加注重以人为本的思想,作品的风格有所变化。而姜敬爱一直以阶级解放为出发点,作品中集中体现了推翻剥削阶级,创造平等、理想社会的思想意识。姜敬爱在中国龙井生活了很长时间,深刻了解朝鲜民族移民深受日本帝国主义和地方封建政权以及地主的剥削和压迫,因此,她更加注重描写了朝鲜移民在异国他乡艰难的移民生活以及地主的剥削,描写了朝鲜民族的民族独立运动以及在抗日斗争中的犹豫或转变。
第四章比较了萧红和姜敬爱的女性意识。萧红和姜敬爱所处的是男尊女卑思想根深蒂固的时代,女性只是男性的生育和泄欲的工具。因此,两位作家对男女不平等的社会制度深恶痛绝。萧红和姜敬爱的作品大多是对个人生活经历的再现,描述了女性人物的悲惨境遇和痛苦。她们借女性人物之口所传达的女性话语是独特而尖锐的。或许身为女性作家更了解女性心理的缘故,她们都喜欢以女性视角来观察人,尤其是女性。她们善于捕捉自己对周围事物的感觉,并用委婉凄美的语言表达出来,作品中充满了女性特有的细腻情感。
如,萧红的《生死场》中描写了麻面婆,月英,福发老婆,金枝等女性在男权中心的社会所经受的非人待遇和悲剧命运。姜敬爱在《稿费200元》中,通过丈夫和妻子为200元稿费使用的意见分歧,从侧面批判了丈夫的大男子主义思想。
萧红和姜敬爱都塑造了被男性视为玩偶、生育或发泄性欲工具的女性形象。如,萧红的《三个无聊的人》中的妓女和姜敬爱《同情》中的山月都是苦于生计被迫出卖肉体的女性。他们的作品还塑造了视贞操胜过一切的女性以及为了传宗接代经受痛苦的女性。如,萧红的小说《生死场》中,金枝在结婚前就失去了贞操,而正是这一点让她的一生都曲折不堪。因为,在那个时代贞操胜过一切,失去贞操的女人是遭到所有人唾弃的。姜敬爱的短篇《毒品》中,丈夫为了买鸦片抽,把老婆卖给汉族地主。而宝德妈妈被地主蹂躏了以后,还想着老公和孩子,在逃跑的半路上死去。而姜敬爱在小说《父子》中,塑造了寡妇改嫁,开始新生活的女性形象。虽然石头妈的改嫁是被石头爸强奸,怀了石头以后,但是寡妇改嫁这一题材在当时是不多见的。
萧红和姜敬爱都批判了以男人为中心的男权社会,然而姜敬爱注重的是相夫教子的思想,女性人物更多保留着传统女性思维。
萧红和姜敬爱在小说中,把底层女性在生产中的痛苦描写得非常恐怖。如,萧红《生死场》,姜敬爱《盐》、《地下村》等。
萧红塑造的女性或是愚昧、无知、顺从、忍气吞声、备受折磨的女性,或是打破传统模式,冲破封建枷锁的现代女性；而姜敬爱塑造的是既具备传统女性优良品质,又在新时代有所觉醒的女性。萧红认为现代女性应该努力想摆脱封建家庭的束缚,要像“娜拉”一样出走,可她塑造的女性形象却大都未能走出男人的“手心”。而姜敬爱在家庭生活和创作中都秉承传统女性应具备的道德规范,作品中塑造的多是贤良淑德的传统的女性形象,她认为女性应该贤良淑德和任劳任怨。姜敬爱也认为造成不平等的原因是男权社会。但她没有像萧红那样选择“逃脱”,因为传统思想已经禁锢了姜敬爱的“步伐”。最终,她选择了隐忍和认命,但精神上还是力求有所突破。
第五章从叙事学的角度分析了萧红和姜敬爱的作品风格。她们的创作个性决定了其独特的作品风格。两位作家的作品风格可以从叙事结构、叙事视角、语言艺术等方面加以研究。萧红的风格与当时的任何作品不同,她坚持用“越轨的笔致”,全部都是信手拈来,从未考虑如何安排语言顺序。而姜敬爱的风格循规蹈矩,她基本上未脱离传统写作的模式。
萧红的叙事结构是“花瓣式”结构,没有贯穿统一的叙事情节,作品的每个章节可以自成一体,看似无关联却又紧密地联系在一起。她的故事常常打破时间和空间的顺序,显得随意无序。如,萧红的《生死场》中没有称得上典型的人物形象。作家在全景中设置了众多人物,但是,除了王婆、赵三、二里半等人物贯穿始终外,不少人物只留下了剪影,转瞬即逝。萧红的作品不追求人物性格的完整性,而追求人物的整体性。她笔下的农民群像是“整体性”的。又如,萧红的《呼兰河传》没有严谨的结构,作品是可合可分、似断实连的。它描写的是小城里的各个人物,好多篇章都可以独立的,而且是散落而有序的。
姜敬爱的叙事结构,采用了传统模式,围绕着核心故事情节,依照时间的脉络依序进行。她设置了多条线索为同一个主题服务,整部小说主线分明,所有的人物形象都为一个任务而存在,每个情节都是不可或缺的。如,《母亲和女儿》有很多线索,美丽和李春植的情节,珊瑚珠和姜洙的情节,玉儿和美丽的情节等。但是这些情节都是为玉儿的觉醒而服务的。又如,《盐》中,佃农的苦难和凤艳爸被捕等情节都是为了玉儿的觉醒作为铺垫的。
在叙事视角上,萧红可谓是千变万化,有全知视角、客观视角和第一人称视角等。如,《王阿嫂的死》、《哑老人》、《生死场》、《马伯乐》和《小六》,《红的果园》都是全知视角,《三个无聊人》是客观视角。而作品《手》、《牛车上》、《后花园》、《家族以外的入》、《呼兰河传》、《小城三月》都采用了第一人称视角。
而姜敬爱的叙事视角,多按照传统的全知视角来描写,有时从第一人称视角再变成第三人称视角。如,长篇小说《母亲与女儿》是通过玉儿的视角而阐述的。《人间问题》采用的是第三人称视角。作品中常出现的是“他们”,“我们”等字眼。《那个女人》是利用第三人称视角,批判了玛丽的虚荣心。《烦恼》就是从第一人称视角变成了第三人称视角。第一人称视角的优点在于给读者带来了真诚感和亲切感,叙述者不再处于“全知全能”的位置,更便于与读者进行平等的对话。她们都善于用第三人称的儿童视角,她们经常借助于儿童的眼光或口吻来讲述故事,故事的展开具有鲜明的儿童思维特征。
在语言艺术上,萧红采用了简洁质朴的话语,她的文字里有着一种宿命般的苍凉感。如,《祖父死了的时候》通过儿童的语言表达了对生老病死的看法。她不会刻意追求某种文字风格,不加雕琢、自然天成的笔法,更具有一种独特的魅力,给人别样的感受。她的字里行间,显得冷漠且孤独,但她的语言又有着掩饰不住的调皮,讽刺的手法更是独一无二,这反映了萧红对人生的一种透彻领悟。如,《马伯乐》中,作家利用诙谐手法把主人公马伯乐“贪生怕死”的性格以及多面性塑造得淋漓尽致,把人生苦难融化成了快乐。姜敬爱则多运用拟声拟态的话语,显得很有亲切感。她在作品中使用了大量的拟声拟态词,真实地反映了底层民众的辛酸与艰难。她在文字中所透露出的是一种对家乡的迷恋及隐约的疼痛。而因为她所塑造的人物都是觉醒的,所以小说里所使用的话语极具号召力。如,姜敬爱小说《盐》。
本文详细地比较了1930年代的女性作家萧红和姜敬爱,在进步了解当时中、韩两国所处的社会背景、思想观念、经济结构等方面有推动作用。并且,在补充和完善1930年代的中、韩女性文学史有一定的促进作用。
Both Xiao Hong (Chinese,1911-1942) and Kang KyungAe(Korean,1906-1944) are brilliant female writers emerging in the literature arena in the1930s. Xiao Hong was born to a feudal landowning family in Hulan County, Heilongjiang Province, China. Xiao Hong's representative works novels like The Tales of the Hulan River and The Field of Life and Death and she also authored short stories like "The Death of Wang Asao","March in the Town". Kang KyungAe, born in a poor farmer family in Hwanghae-do (Province), Korea, wrote novels like The Human Predicament and Mothers and Daughters and story stories such as "Salt" and "The Underground Village". Xiao Hong played an importantly active role in Chinese literary field and her life was legendary; Kang KyungAe also enjoyed a high reputation in Korean literary circles. In spite of the difference in nationalities, their life stories share great similarities, which lay foundation for the comparability between their literary creations. This thesis employs such literary theories as comparative study, feminism and narratology, emphatically explores the similarities and differences between the life stories, class consciousnesses and female consciousnesses of Xiao Hong and Kang KyungAe, and make parallel comparisons between them from the perspectives of narrative structure, point of view and linguistic art.
In chapter two, the relations between Xiao Hong, Kang KyungAe and their respective works are studied. Xiao Hong's life is characterized by her relentless struggles against fate. In the pursuit of independence and freedom, Xiao Hong chose to break the tether of the feudal family she was from and underwent courageously the affliction of starvation and ailing until her life came to an end. She saw critically and reflected on misfortunes of the underclass in the light of her own miserable experiences and confronted the unreasonable world out of her wish for what she conceived to be an "equal world". Xiao Hong transcended class and gender and looked at herself at the high level of humanity; she also went beyond physical agonies, plunged herself deeply into people's inner world and endeavored to find out true reasons for human existence. Different from Xiao Hong, Kang KyungAe began to taste the bitterness of life at the bottom as soon as she was born. With a keen understanding of how the exploiting class oppressed the common people and how they squeezed fruits of the populace's labor, Kang KyungAe, in the light of the class consciousness of the proletarian, contended that women's emancipation should start from class liberation. She opposed the unreasonable social system and tried her utmost to integrate all the ordinary people's strength to counterbalance class inequality for the ultimate goal of the liberation of mankind.
Both Xiao Hong's and Kang KyungAe's lives are full of hardships and sufferings, and great similarities can be found in their social backgrounds, personal experiences, and writing creations, which make the parallel study between them possible. In the1930s, China and Korea, suffering from the aggression from Japanese imperialism,witnessed the most intense national conflict and class contradictions and women in that era were subject to both class oppression from the ruling class and gender oppression from the feudal system. Under the double oppressions, Xiao Hong's and Kang KyungAe's class consciousnesses and female consciousnesses were aroused and finally found expression in their literary works.
In chapter three, Xiao Hong and Kang KyungAe's class consciousnesses are compared. Both Xiao Hong and Jiang jingai once suffered from starvation, though the former did not starve until she left her feudal family whereas the latter began to be harassed by hunger as soon as she was born. Memories of poverty and sufferings gradually built up their class consciousnesses; by depicting the deplorable living conditions of people at the bottom, the two female writers criticized the unreasonable social system and phenomena. Unmarked burial mounds in The Field of Life and Death and the "Resentment Pond" in The Human Predicament are metaphors for class oppression, which reveal the sociogram of the opposition and contraction between the exploiting class and the oppressed class. Their works touch the themes of national survival and fight against imperialism, and the masses of the people in their novels also go through the development from unconscious resistance to well-organized fight.
These two writers mainly focused on the characterization of life at the bottom, in particular female characters with no social status. Xiao Hong's writings place emphasis on the description of wretched life of women under deep-rooted feudal oppression, their ignorance, and their resignation to or struggle against the exploiting class. Xiao Hong's class consciousness is mainly manifested in her early writings while with the changes in her writing style, her later works attached more importance to people-oriented thought. Kang KyungAe, however, regards class liberation as the starting point and her works are concentrated reflection of the notions of overthrowing the ruling class and establishing an equal ideal society. Having lived in Dragon Well area, China for a long time, Kang KyungAe deeply understood that Korean immigrants were greatly victimized by the exploitation and oppression from Japanese imperialism, local feudal regime and the landlords. Therefore, she paid more attention to the depiction of the difficult life of Korean immigrants on foreign lands and the exploitation they suffer from landlords; she also writes about the national independence movement in Korea and Korean people's hesitation and changes during the anti-Japanese war.
Xiao Hong and Kang KyungAe's female consciousnesses are compared in chapter four. In Xiao Hong and Kang KyungAe's times, the view that men are superior to women prevailed and women were just tools to bear children and to meet men's sexual desire. Therefore, the two female writers detested the social system in which women were unfairly treated. Xiao Hong's and Kang KyungAe's works, mainly the reproduction of their personal experiences, describe the tragic life of women. The female language they convey through these women characters is unique and poignant. Perhaps as female writers, they knew much better about female psychology, so they tended to observe their characters, especially female characters, from women's perspectives. They excel in capturing their feeling towards things surround them and are able to express the feelings in euphemistic and tragically beautiful language; subtle emotions peculiar to women abound in their works.
Both Xiao Hong and Kang KyungAe portray female characters who were treated by men as dolls and as tools of reproduction or to meet their sexual desire:those selling sex to make a living; those valuing chastity over anything else; those undergoing great pains for the sake of procreation and carrying on the family line. However, female characters under their pen have their own distinct characteristics. Xiao Hong's female characters mainly come into two categories:some of them are ignorant and resign themselves to the adversity while others are modern women who break with tradition and smash the yoke of feudal system. However, female characters in Kang KyungAe's works not only possess traditional fine qualities but also begin to wake up in the new era. Xiao Hong contended that modern women were supposed to strive for freedom from the yoke of feudal family and must leave home just like Nora in Ibsen's masterpiece A Doll in the House; however, most of her female characters fail to get out of the control of men. Kang KyungAe strictly adhered to the moral standards required for traditional women in family life and literary creation, and therefore she portrayed mainly traditional women who are kind, gentle and obedient. Kang KyungAe also regarded patriarchy as the reason for the inequality between men and women, but she did not choose to "escape" like Xiao Hong in that traditional thoughts hampered her "pace" to take action. Finally, she chose to endure and resigned herself to destiny though she tried to make some mental breakthroughs.
Chapter five centers on the narratological analyses of Xiao Hong's and Kang KyungAe's writing styles. Their personalities in composition result in their distinct styles of their works. The writing styles of these two writers can be studied from such perspectives as narrative structure, narrative point of view and language art, etc. Xiao Hong's writings differ from these of her contemporaries since she stuck to "unorthodox writing", as Lu Xun put it:she wrote freely without too much hesitation and cared little about the arrangement of her language. However, Kang KyungAe's writings basically follow traditional writing mode.
The narrative structure of Xiao Hong's works is like a petal:there is no coherent plot running through the whole book; each chapter, with a style of its own, seems unconnected with others but all of them are actually closely related. The time sequence and spatial order in her stories are usually broken, which seem casual and unordered. However, Kang KyungAe adopted traditional narrative structure:the story develops with time around the core plot. Several clues were used to work for the theme, and the main plotline of Kang KyungAe's novel is evident with all character useful and each plot indispensable.
The narrative perspectives employed by Xiao Hong vary from omniscient view, objective view to first person point of view, just to name a few. Kang KyungAe, however, mainly utilized traditional omniscient view and sometimes shifted from first person view to third person perspective. The strengths of first person narrative lie in the sincerity and closeness that brings to the readers and the fact that the narrator is neither omniscient nor omnipotent enables equal talk with the readers. Besides, both Xiao Hong and Kang KyungAe were adept in the employment of children's point of view: they usually recounted their stories from children's perspective or in children's tones and the development of their stories are characterized by distinctive children's mental traits.
In terms of linguistic art, Xiao Hong uses simple plain language, and there is a pre-destined sense of desolation in her words. She does not pursue deliberately certain writing style; instead, her writing is natural and without unnecessary cut and polish, which renders her writing a special glamour and offers the readers unusual reading feelings. Between the lines, she seemed aloof and solitary. The liveliness of her language is hard to be concealed and her satire is unique, which reveals Xiao Hong's insightful understanding of life. Kang KyungAe tended to use onomatopoeic and imitative language, thus providing the readers with a feeling of intimacy. Plenty of onomatopoeic and imitative words are used in her works, which vividly reflect the bitterness and hardships of the underclass. Her language suggests an obsession with hometown and faint pain. Besides, because most of her characters are awaking, the language she used is extremely provocative.
The meticulous comparison of Xiao Hong and Kang KyungAe, two celebrated female writers in1930s in this thesis will further our understanding of the social background, views and values and economic structure in China and Korea and facilitate the development and perfection of the history of Chinese and Korean female literatures.
第二章比较了萧红和姜敬爱的一生与其作品的关联。萧红的一生是与命运抗争的一生。她为了独立和自由,选择了摆脱封建家庭的束缚,忍受了饥饿与病痛的折磨,勇敢地走完了一生。她从自己的痛苦经历出发,去审视和思考底层人民的不幸,并以一己之躯去对抗不合理的一切,追求自认为的“平等的世界”。她超越了阶级和性别,在人类的高度审视自我；超越了肉体的痛苦,深入到人们的精神世界里,竭力挖掘出人之所以存在的真实原因。姜敬爱与萧红不同的是,她出生就体验到了最底层人民的苦难。她深切地体会到了剥削阶级怎样压迫民众,怎样榨取民众的劳动成果。她从无产阶级的阶级意识出发,认为女性的解放也应该从阶级解放开始。她与不合理的社会制度进行了抗争,竭尽全力地整合所有底层的力量与阶级不平等抗衡,以达到解放人类的最终目的。
萧红和姜敬爱的一生充满了艰难和痛苦,她们的生活背景、个人经历、创作道路等等具有很强的相似性,这也为二者之间的比较研究提供了可能。她们所处的1930年代,中韩两国都被日本帝国主义所侵略,在民族矛盾和阶级矛盾最为激烈的时代背景下,广大妇女受到了统治阶级的阶级压迫和封建制度的性别压迫。在双重压迫下,萧红和姜敬爱的阶级意识和女性意识反而得到激发并渐渐显露出来,最终体现在她们的作品中。
第三章比较了萧红和姜敬爱的阶级意识。萧红和姜敬爱都曾被饥饿所侵袭。萧红是在摆脱了封建家庭的束缚之后,而姜敬爱是从出生即开始。正是因为这些贫穷和苦难的记忆,她们的阶级意识逐渐形成；们通过描写底层人民贫穷的生存环境、饥饿和疾病的痛苦煎熬,批判了不合理的社会制度和现象。如,萧红在《看风筝》中较深刻地描写了革命家刘成父亲的穷苦生活。比如,平时他用帽子随意裹着鞋子当枕头用,满屋子的干草则是他唯一的财产等。作品《夜风》中,地主为了保护自己的财产,让长工们在冰冷的冬天里受冻,而长青在寒冷的冬天里,只穿着没有棉絮的透明棉裤受冻着。姜敬爱小说《地下村》和《人间问题》中,穷人住在猪圈不如的家,过着牛马不如的生活。两位作家通过生动描写底层民疾苦,深刻地批判了不合理的社会制度。
萧红在《呼兰河传》中,对房子的拟人化描写生动而真实,地主施舍给穷人的草房可以“动”、“跑”、“垂头”、“响”。穷人住在这样的房子里,也要把仅有的面粉作为房租供给地主,而地主住的房子是富丽堂皇的。姜敬爱的长篇小说《母亲与女人》中,凤艳的家像猪圈,而地主的家像个皇宫。两位作家通过如此鲜明的对比,尖锐地指出地主的豪华生活是压榨穷苦农民而得来的。萧红的作品《王阿嫂的死》中,农民辛辛苦苦晒干的茄子全都进了地主的仓库,地主给王阿嫂的是喂猪的烂土豆。姜敬爱的作品《地下村》中,七星的妹妹没有饭吃,只能吃橡子饭。而橡子饭却很难消化,最终导致她大量吐血。
疾病在萧红和姜敬爱的作品中经常出现,而且作品的各个角落充满着死亡的气息。比如,《生死场》中乱坟岗子就是为了填埋那些无辜生灵的,而死了以后的生灵在阴曹地府也要受上层阶级的剥削。姜敬爱的《地下村》中,没有钱给孩子治病的七星妈妈,听人家的话,把耗子皮敷在七运腐烂的头皮上,导致幼小的七云病情加重而死。显而易见,两位作家同情着穷苦人民,批判剥削阶级。她们通过底层民众的悲惨生活和命运,尖锐地批判了不合理的社会制度。
又如,《生死场》的乱坟岗子和《人间问题》的怨沼是阶级压迫的隐喻,它们揭示了剥削阶级和被压迫阶级之间的对立和矛盾的社会关系图。萧红的小说《手》,讲述着染匠女儿因为长期帮家里做染匠活儿,手经常是黑黑的,在学校里经常受到歧视。作品里王亚明的手象征着劳动人民的手,可以说,该作品勾勒出了上层阶级和底层阶级的关系图,有力地批判了上层阶级的虚伪。姜敬爱的长篇小说《人间问题》所揭示的是地主和佃农之间的关系图,即剥削阶级和被剥削阶级的关系。小说中郑德浩和仙妃爹的关系,就是雇主和长工的关系。而长工仙妃爹把这种不公平的对立关系认为是正常关系,从未提出异议。两位作家把在不平等的社会中只能认命的农民形象描写得淋漓尽致。
萧红和和姜敬爱的作品中民族存亡与反帝斗争的主题较突出。如,萧红的《看风筝》中出现的革命者形象,姜敬爱《烦恼》中的社会主义者形象都表明了作家的反抗意识。萧红《夜风》中,长青和妈妈的觉醒,姜敬爱《解雇》中,金工的觉醒等都表现了底层人民的反抗。可是,这些作品中底层人民的反抗并不是有意识、有组织的反抗是自然反抗,所以他们的反抗未能推翻上层阶级。但是,姜敬爱的小说《父子》中,民众从无意识的反抗转变为有组织的斗争。这表明了两位作家的阶级意识渐渐趋于成熟。
两位作家把视线定格在了最底层人民身上,尤其是最底层中毫无地位的女性身上。萧红的笔墨着重于描写在根深蒂固的封建压迫下女性的悲惨的生活状态及无知、愚昧,顺从或反抗剥削阶级的心理。萧红的阶级意识体现在初期创作中,她的后期创作更加注重以人为本的思想,作品的风格有所变化。而姜敬爱一直以阶级解放为出发点,作品中集中体现了推翻剥削阶级,创造平等、理想社会的思想意识。姜敬爱在中国龙井生活了很长时间,深刻了解朝鲜民族移民深受日本帝国主义和地方封建政权以及地主的剥削和压迫,因此,她更加注重描写了朝鲜移民在异国他乡艰难的移民生活以及地主的剥削,描写了朝鲜民族的民族独立运动以及在抗日斗争中的犹豫或转变。
第四章比较了萧红和姜敬爱的女性意识。萧红和姜敬爱所处的是男尊女卑思想根深蒂固的时代,女性只是男性的生育和泄欲的工具。因此,两位作家对男女不平等的社会制度深恶痛绝。萧红和姜敬爱的作品大多是对个人生活经历的再现,描述了女性人物的悲惨境遇和痛苦。她们借女性人物之口所传达的女性话语是独特而尖锐的。或许身为女性作家更了解女性心理的缘故,她们都喜欢以女性视角来观察人,尤其是女性。她们善于捕捉自己对周围事物的感觉,并用委婉凄美的语言表达出来,作品中充满了女性特有的细腻情感。
如,萧红的《生死场》中描写了麻面婆,月英,福发老婆,金枝等女性在男权中心的社会所经受的非人待遇和悲剧命运。姜敬爱在《稿费200元》中,通过丈夫和妻子为200元稿费使用的意见分歧,从侧面批判了丈夫的大男子主义思想。
萧红和姜敬爱都塑造了被男性视为玩偶、生育或发泄性欲工具的女性形象。如,萧红的《三个无聊的人》中的妓女和姜敬爱《同情》中的山月都是苦于生计被迫出卖肉体的女性。他们的作品还塑造了视贞操胜过一切的女性以及为了传宗接代经受痛苦的女性。如,萧红的小说《生死场》中,金枝在结婚前就失去了贞操,而正是这一点让她的一生都曲折不堪。因为,在那个时代贞操胜过一切,失去贞操的女人是遭到所有人唾弃的。姜敬爱的短篇《毒品》中,丈夫为了买鸦片抽,把老婆卖给汉族地主。而宝德妈妈被地主蹂躏了以后,还想着老公和孩子,在逃跑的半路上死去。而姜敬爱在小说《父子》中,塑造了寡妇改嫁,开始新生活的女性形象。虽然石头妈的改嫁是被石头爸强奸,怀了石头以后,但是寡妇改嫁这一题材在当时是不多见的。
萧红和姜敬爱都批判了以男人为中心的男权社会,然而姜敬爱注重的是相夫教子的思想,女性人物更多保留着传统女性思维。
萧红和姜敬爱在小说中,把底层女性在生产中的痛苦描写得非常恐怖。如,萧红《生死场》,姜敬爱《盐》、《地下村》等。
萧红塑造的女性或是愚昧、无知、顺从、忍气吞声、备受折磨的女性,或是打破传统模式,冲破封建枷锁的现代女性；而姜敬爱塑造的是既具备传统女性优良品质,又在新时代有所觉醒的女性。萧红认为现代女性应该努力想摆脱封建家庭的束缚,要像“娜拉”一样出走,可她塑造的女性形象却大都未能走出男人的“手心”。而姜敬爱在家庭生活和创作中都秉承传统女性应具备的道德规范,作品中塑造的多是贤良淑德的传统的女性形象,她认为女性应该贤良淑德和任劳任怨。姜敬爱也认为造成不平等的原因是男权社会。但她没有像萧红那样选择“逃脱”,因为传统思想已经禁锢了姜敬爱的“步伐”。最终,她选择了隐忍和认命,但精神上还是力求有所突破。
第五章从叙事学的角度分析了萧红和姜敬爱的作品风格。她们的创作个性决定了其独特的作品风格。两位作家的作品风格可以从叙事结构、叙事视角、语言艺术等方面加以研究。萧红的风格与当时的任何作品不同,她坚持用“越轨的笔致”,全部都是信手拈来,从未考虑如何安排语言顺序。而姜敬爱的风格循规蹈矩,她基本上未脱离传统写作的模式。
萧红的叙事结构是“花瓣式”结构,没有贯穿统一的叙事情节,作品的每个章节可以自成一体,看似无关联却又紧密地联系在一起。她的故事常常打破时间和空间的顺序,显得随意无序。如,萧红的《生死场》中没有称得上典型的人物形象。作家在全景中设置了众多人物,但是,除了王婆、赵三、二里半等人物贯穿始终外,不少人物只留下了剪影,转瞬即逝。萧红的作品不追求人物性格的完整性,而追求人物的整体性。她笔下的农民群像是“整体性”的。又如,萧红的《呼兰河传》没有严谨的结构,作品是可合可分、似断实连的。它描写的是小城里的各个人物,好多篇章都可以独立的,而且是散落而有序的。
姜敬爱的叙事结构,采用了传统模式,围绕着核心故事情节,依照时间的脉络依序进行。她设置了多条线索为同一个主题服务,整部小说主线分明,所有的人物形象都为一个任务而存在,每个情节都是不可或缺的。如,《母亲和女儿》有很多线索,美丽和李春植的情节,珊瑚珠和姜洙的情节,玉儿和美丽的情节等。但是这些情节都是为玉儿的觉醒而服务的。又如,《盐》中,佃农的苦难和凤艳爸被捕等情节都是为了玉儿的觉醒作为铺垫的。
在叙事视角上,萧红可谓是千变万化,有全知视角、客观视角和第一人称视角等。如,《王阿嫂的死》、《哑老人》、《生死场》、《马伯乐》和《小六》,《红的果园》都是全知视角,《三个无聊人》是客观视角。而作品《手》、《牛车上》、《后花园》、《家族以外的入》、《呼兰河传》、《小城三月》都采用了第一人称视角。
而姜敬爱的叙事视角,多按照传统的全知视角来描写,有时从第一人称视角再变成第三人称视角。如,长篇小说《母亲与女儿》是通过玉儿的视角而阐述的。《人间问题》采用的是第三人称视角。作品中常出现的是“他们”,“我们”等字眼。《那个女人》是利用第三人称视角,批判了玛丽的虚荣心。《烦恼》就是从第一人称视角变成了第三人称视角。第一人称视角的优点在于给读者带来了真诚感和亲切感,叙述者不再处于“全知全能”的位置,更便于与读者进行平等的对话。她们都善于用第三人称的儿童视角,她们经常借助于儿童的眼光或口吻来讲述故事,故事的展开具有鲜明的儿童思维特征。
在语言艺术上,萧红采用了简洁质朴的话语,她的文字里有着一种宿命般的苍凉感。如,《祖父死了的时候》通过儿童的语言表达了对生老病死的看法。她不会刻意追求某种文字风格,不加雕琢、自然天成的笔法,更具有一种独特的魅力,给人别样的感受。她的字里行间,显得冷漠且孤独,但她的语言又有着掩饰不住的调皮,讽刺的手法更是独一无二,这反映了萧红对人生的一种透彻领悟。如,《马伯乐》中,作家利用诙谐手法把主人公马伯乐“贪生怕死”的性格以及多面性塑造得淋漓尽致,把人生苦难融化成了快乐。姜敬爱则多运用拟声拟态的话语,显得很有亲切感。她在作品中使用了大量的拟声拟态词,真实地反映了底层民众的辛酸与艰难。她在文字中所透露出的是一种对家乡的迷恋及隐约的疼痛。而因为她所塑造的人物都是觉醒的,所以小说里所使用的话语极具号召力。如,姜敬爱小说《盐》。
本文详细地比较了1930年代的女性作家萧红和姜敬爱,在进步了解当时中、韩两国所处的社会背景、思想观念、经济结构等方面有推动作用。并且,在补充和完善1930年代的中、韩女性文学史有一定的促进作用。
Both Xiao Hong (Chinese,1911-1942) and Kang KyungAe(Korean,1906-1944) are brilliant female writers emerging in the literature arena in the1930s. Xiao Hong was born to a feudal landowning family in Hulan County, Heilongjiang Province, China. Xiao Hong's representative works novels like The Tales of the Hulan River and The Field of Life and Death and she also authored short stories like "The Death of Wang Asao","March in the Town". Kang KyungAe, born in a poor farmer family in Hwanghae-do (Province), Korea, wrote novels like The Human Predicament and Mothers and Daughters and story stories such as "Salt" and "The Underground Village". Xiao Hong played an importantly active role in Chinese literary field and her life was legendary; Kang KyungAe also enjoyed a high reputation in Korean literary circles. In spite of the difference in nationalities, their life stories share great similarities, which lay foundation for the comparability between their literary creations. This thesis employs such literary theories as comparative study, feminism and narratology, emphatically explores the similarities and differences between the life stories, class consciousnesses and female consciousnesses of Xiao Hong and Kang KyungAe, and make parallel comparisons between them from the perspectives of narrative structure, point of view and linguistic art.
In chapter two, the relations between Xiao Hong, Kang KyungAe and their respective works are studied. Xiao Hong's life is characterized by her relentless struggles against fate. In the pursuit of independence and freedom, Xiao Hong chose to break the tether of the feudal family she was from and underwent courageously the affliction of starvation and ailing until her life came to an end. She saw critically and reflected on misfortunes of the underclass in the light of her own miserable experiences and confronted the unreasonable world out of her wish for what she conceived to be an "equal world". Xiao Hong transcended class and gender and looked at herself at the high level of humanity; she also went beyond physical agonies, plunged herself deeply into people's inner world and endeavored to find out true reasons for human existence. Different from Xiao Hong, Kang KyungAe began to taste the bitterness of life at the bottom as soon as she was born. With a keen understanding of how the exploiting class oppressed the common people and how they squeezed fruits of the populace's labor, Kang KyungAe, in the light of the class consciousness of the proletarian, contended that women's emancipation should start from class liberation. She opposed the unreasonable social system and tried her utmost to integrate all the ordinary people's strength to counterbalance class inequality for the ultimate goal of the liberation of mankind.
Both Xiao Hong's and Kang KyungAe's lives are full of hardships and sufferings, and great similarities can be found in their social backgrounds, personal experiences, and writing creations, which make the parallel study between them possible. In the1930s, China and Korea, suffering from the aggression from Japanese imperialism,witnessed the most intense national conflict and class contradictions and women in that era were subject to both class oppression from the ruling class and gender oppression from the feudal system. Under the double oppressions, Xiao Hong's and Kang KyungAe's class consciousnesses and female consciousnesses were aroused and finally found expression in their literary works.
In chapter three, Xiao Hong and Kang KyungAe's class consciousnesses are compared. Both Xiao Hong and Jiang jingai once suffered from starvation, though the former did not starve until she left her feudal family whereas the latter began to be harassed by hunger as soon as she was born. Memories of poverty and sufferings gradually built up their class consciousnesses; by depicting the deplorable living conditions of people at the bottom, the two female writers criticized the unreasonable social system and phenomena. Unmarked burial mounds in The Field of Life and Death and the "Resentment Pond" in The Human Predicament are metaphors for class oppression, which reveal the sociogram of the opposition and contraction between the exploiting class and the oppressed class. Their works touch the themes of national survival and fight against imperialism, and the masses of the people in their novels also go through the development from unconscious resistance to well-organized fight.
These two writers mainly focused on the characterization of life at the bottom, in particular female characters with no social status. Xiao Hong's writings place emphasis on the description of wretched life of women under deep-rooted feudal oppression, their ignorance, and their resignation to or struggle against the exploiting class. Xiao Hong's class consciousness is mainly manifested in her early writings while with the changes in her writing style, her later works attached more importance to people-oriented thought. Kang KyungAe, however, regards class liberation as the starting point and her works are concentrated reflection of the notions of overthrowing the ruling class and establishing an equal ideal society. Having lived in Dragon Well area, China for a long time, Kang KyungAe deeply understood that Korean immigrants were greatly victimized by the exploitation and oppression from Japanese imperialism, local feudal regime and the landlords. Therefore, she paid more attention to the depiction of the difficult life of Korean immigrants on foreign lands and the exploitation they suffer from landlords; she also writes about the national independence movement in Korea and Korean people's hesitation and changes during the anti-Japanese war.
Xiao Hong and Kang KyungAe's female consciousnesses are compared in chapter four. In Xiao Hong and Kang KyungAe's times, the view that men are superior to women prevailed and women were just tools to bear children and to meet men's sexual desire. Therefore, the two female writers detested the social system in which women were unfairly treated. Xiao Hong's and Kang KyungAe's works, mainly the reproduction of their personal experiences, describe the tragic life of women. The female language they convey through these women characters is unique and poignant. Perhaps as female writers, they knew much better about female psychology, so they tended to observe their characters, especially female characters, from women's perspectives. They excel in capturing their feeling towards things surround them and are able to express the feelings in euphemistic and tragically beautiful language; subtle emotions peculiar to women abound in their works.
Both Xiao Hong and Kang KyungAe portray female characters who were treated by men as dolls and as tools of reproduction or to meet their sexual desire:those selling sex to make a living; those valuing chastity over anything else; those undergoing great pains for the sake of procreation and carrying on the family line. However, female characters under their pen have their own distinct characteristics. Xiao Hong's female characters mainly come into two categories:some of them are ignorant and resign themselves to the adversity while others are modern women who break with tradition and smash the yoke of feudal system. However, female characters in Kang KyungAe's works not only possess traditional fine qualities but also begin to wake up in the new era. Xiao Hong contended that modern women were supposed to strive for freedom from the yoke of feudal family and must leave home just like Nora in Ibsen's masterpiece A Doll in the House; however, most of her female characters fail to get out of the control of men. Kang KyungAe strictly adhered to the moral standards required for traditional women in family life and literary creation, and therefore she portrayed mainly traditional women who are kind, gentle and obedient. Kang KyungAe also regarded patriarchy as the reason for the inequality between men and women, but she did not choose to "escape" like Xiao Hong in that traditional thoughts hampered her "pace" to take action. Finally, she chose to endure and resigned herself to destiny though she tried to make some mental breakthroughs.
Chapter five centers on the narratological analyses of Xiao Hong's and Kang KyungAe's writing styles. Their personalities in composition result in their distinct styles of their works. The writing styles of these two writers can be studied from such perspectives as narrative structure, narrative point of view and language art, etc. Xiao Hong's writings differ from these of her contemporaries since she stuck to "unorthodox writing", as Lu Xun put it:she wrote freely without too much hesitation and cared little about the arrangement of her language. However, Kang KyungAe's writings basically follow traditional writing mode.
The narrative structure of Xiao Hong's works is like a petal:there is no coherent plot running through the whole book; each chapter, with a style of its own, seems unconnected with others but all of them are actually closely related. The time sequence and spatial order in her stories are usually broken, which seem casual and unordered. However, Kang KyungAe adopted traditional narrative structure:the story develops with time around the core plot. Several clues were used to work for the theme, and the main plotline of Kang KyungAe's novel is evident with all character useful and each plot indispensable.
The narrative perspectives employed by Xiao Hong vary from omniscient view, objective view to first person point of view, just to name a few. Kang KyungAe, however, mainly utilized traditional omniscient view and sometimes shifted from first person view to third person perspective. The strengths of first person narrative lie in the sincerity and closeness that brings to the readers and the fact that the narrator is neither omniscient nor omnipotent enables equal talk with the readers. Besides, both Xiao Hong and Kang KyungAe were adept in the employment of children's point of view: they usually recounted their stories from children's perspective or in children's tones and the development of their stories are characterized by distinctive children's mental traits.
In terms of linguistic art, Xiao Hong uses simple plain language, and there is a pre-destined sense of desolation in her words. She does not pursue deliberately certain writing style; instead, her writing is natural and without unnecessary cut and polish, which renders her writing a special glamour and offers the readers unusual reading feelings. Between the lines, she seemed aloof and solitary. The liveliness of her language is hard to be concealed and her satire is unique, which reveals Xiao Hong's insightful understanding of life. Kang KyungAe tended to use onomatopoeic and imitative language, thus providing the readers with a feeling of intimacy. Plenty of onomatopoeic and imitative words are used in her works, which vividly reflect the bitterness and hardships of the underclass. Her language suggests an obsession with hometown and faint pain. Besides, because most of her characters are awaking, the language she used is extremely provocative.
The meticulous comparison of Xiao Hong and Kang KyungAe, two celebrated female writers in1930s in this thesis will further our understanding of the social background, views and values and economic structure in China and Korea and facilitate the development and perfection of the history of Chinese and Korean female literatures.
引文
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(1)郭延红, 《“生死场”中的生死人生-萧红小说的生命意识》,延边大学硕士学位论文，2004年。
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(22)杨艳群,《“后花园”视域中萧红的创作》,华中师范大学硕士学位论文,2005年。
(23)张美红,《中韩两位文学才女的悲剧意识-萧红、姜敬爱比较研究》,延边大学硕士学位论文,2002年。
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(2)[美]贝蒂·弗里丹,《女性的奥秘》,江苏人民出版社,1988年。
(3)曹革成,《我的婶婶萧红》,时代文艺出版社,2005年。
(4)曹顺庆,《比较文学论》,四川教育出版社,2005年。
(5)常彬,《中国女性文学话语流变》,人民出版社,2007年。
(6)陈惇等,《比较文学》,高等教育出版社,2009年。
(7)陈惠芬,《当代中国女性文学文化批评文选》,广西师范大学出版社,2007年。
(8)丁言昭,《萧红》,四川文艺出版社,1995年。
(9)[英]弗吉尼亚·伍尔夫,《一间自己的屋子》,上海人民出版社,2008年。
(10)[美]葛浩文,《萧红评传》,北方文艺出版社,1985年。
(11)胡经之,《文艺学美学方法论》,北京大学出版社,1998年。
(12)[美]华莱士·马丁,《当代叙事学》,北京大学出版社,2006年。
(13)姜敬爱,《人间问题》,人民文学出版社,1982年。
(14)[美]杰美茵·格雷尔,《女太监》,内蒙古大学出版社,2004年。
(15)敬文东,《随贝格尔号出游-论动作和话语》,2005年。(未出版)
(16)敬文东,《事情总会起变化-一个跟话语理论有关的故事》,2006年。(未出版)
(17)李银河,《女性主义》,山东人民出版社,2005年。
(18)林丹娅,《当代中国女性文学史》,厦门大学出版社,2003年。
(19)林贤治,《1932-1942萧红十年集》,人民文学出版社,2009年。
(20)林贤治,《漂泊者萧红》,人民文学出版社,2009年。
(21)刘禾,《跨语际实践》,三联书店,2008年。
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(2)何镇华,《萧红和姜敬爱的小说创作比较》,中国广播电视出版社论文集,1992年。
(3)黄妍,《论萧红小说的心灵世界》,中山大学硕士学位论文,2005年。
(4)季敏,《论萧红叙事文本的形式创造》,扬州大学硕士学位论文,2003年。
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(8)李大为,《女性化的写作姿态-论萧红创作的文体色彩》,兰州大学硕士学位论文,2000年。
(9)李福熙,《中国现代女性文学研究-以丁玲、萧红与张爱玲为中心》,华东师范大学博士学位论文,1999年。
(10)李向辉,《“生死场”的现代书写-萧红新论》,兰州大学博士学位论文,2007年。
(11)李秀兰,《中朝现代女作家作品中的内在意识比较-姜敬爱与丁玲、萧红、张爱玲比较》,中央民族大学博士学位论文,2005年。
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(13)梁元喆,《萧红小说创作论》,武汉大学博士学位论文,2002年。
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(19)史利颖,《论萧红小说的女性生命悲剧意识》,安徽火学硕士学位论文,2005年。
(20)施琴,《抒情小说体式的拓展和陌生化叙事-“呼兰河传”解读》,华中师范大学硕士学位论文,2004年。
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(24)朱旭晨,《秋水斜阳芳菲度-中国现代女作家传记研究》,复旦大学博士学位论文,2006年。
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