被动的选择：当代女性文学叙事中的性别政治与婚姻形态
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摘要
婚姻关系作为一种特殊的社会关系,既受到社会经济条件的制约,又受到社会文化的影响,这在文学领域体现得尤为直接和形象。本文拟以性别政治为切入点,通过张洁、李昂、张爱玲、池莉等女性作品,试图解析性别政治如何左右女性在情爱和婚姻中的价值选择、心理结构、思维习惯和未来命运。
第一节无奈的婚姻选择
在以体力为社会分工标准的历史发展进程中,女性逐渐被排除于经济体制和政治体制之外。在男人看来,“男人是主要的,女人只是附属品而已。”随着注意的中心集中于男性及其活动,两性生理上的差异也逐渐转变为权力和文化上的差异,进而出现性别政治。男性在提供社会框架和利益方向的同时,控制女人的生存、安全、爱的归属等基本需求,体现在婚姻上,首先是女性婚姻选择标准的“规定性”。
其一,女人的婚姻选择标准,都是被男权的家庭代表规定的,女性当事人均为缺场,女性在婚姻选择中被物化成男性的利益符号。
如张洁《无字》中的墨荷、叶莲子,李昂《杀夫》中的林市,铁凝《玫瑰门》中的司猗文,张爱玲《金锁记》中的曹七巧等人的婚姻,都是按照父亲、叔叔、哥哥规定的标准进行选择的,她们均成了男权制婚姻中被物化的资产符号。
其二,即使到了婚恋自由的当代,由于经济和文化的因素,女性婚姻选择的自由仍然是有限的,大多女性的婚恋标准仍然是被男权规定的。
如池莉《水与火的缠绵》中曾茫茫在进行了一番左挑右选之后,最后终于因社会容不得她的婚恋再起波澜而归顺了社会价值认同；方方《水随天去》中的主人公天美,因为离了婚她就一无所有,所以只能忍受丈夫的无情无意。
第二节婚姻心理的“异化”
男权制“通过教育、文学和宗教这些手段的强化,使人们将其内化在心灵深处。有些女人因此而仇视自我,否定自我,接受了自己是二等公民的看法。”在这种社会文化浸泡下,女性的婚姻心理被异化。
异化的结果之一,是“女性普遍的殖民化,即普遍屈从于男权制的压迫。”表现在婚姻关系中,就是女性的奴化心理。
如《无字》中的墨荷、叶莲子理所当然地接受丈夫的为所欲为；方方《水随天去》中的天美,自愿帮助丈夫做伪证；《新结婚时代》、《双面胶》、《我们俩的婚姻》中的婆婆们主动帮助男人驯服自己的同类。
异化的结果之二,是女性对男权力量的恐惧与渴望。在女人的生命中,苦源于男人,乐也源于男人。因为强大,男人让女人恐惧；因为强大,男人让女人渴望依赖,为此,女人“无论丈夫情感变异与否、是生离抑或死别,都将终生不渝地重视和坚持对他的爱。”
如张洁《无字》中的叶莲子无论顾秋水对她如何凌辱和迫害,都不离不弃；无为,上刀山下火海必嫁胡秉宸,只为依靠男人打败男人；阿苏唯顾秋水是从,也同样出于对男权力量的恐惧与渴望。
第三节婚姻现状的痛苦
随着知识经济逐渐取代资本经济,女性的社会参与和主体自由逐渐增多,女性的内在欲望亦不断觉醒。体现在婚姻当中,女性不再一味逆来顺受,无尽忍耐。
如陈染《私人生活》中的瞎婆婆、拗拗妈妈、禾寡妇,皮皮《渴望激情》中的王一、吴曼,王海瓯《中国式离婚》中的肖莉、林小枫、娟子,池莉《水与火的缠绵》中的曾茫茫,在遭遇丈夫背叛,男人霸权入侵后,都勇敢而坚决地选择了精神的平等和自由,意味着“把男性当做不落的太阳,当做公证的法官,当做全能的恩师,当做勇敢的保护神,当做真理的化身”的时代在她们这里一去不复返了。
第四节期待中的婚姻前景
上节提到的这些女性挑战现实和自我的果敢与清醒,在令人欣慰的同时又让人无法乐观。
其一,女性对男人一以贯之的屈从,长期依附、奉献男人,甚至以这种奉献引以为骄傲和自豪已经沉积成一种习惯、一种心理结构,加之女性长期狭窄的家庭视野、琐碎的家务,禁锢了女性的心智,“解放”在主体上缺乏内在动力和能力,大多数女性仍然怀着“做奴隶而不得”的忧惧而反复于“坐稳了奴隶”的努力。
如《渴望激情》中的王一,最终还是回归了丈夫和原来的家庭。
其二,社会所提供给女性的参政权、就业权、话语权等很多仍然是表象的、有限的,在现代男权社会中,女性解放仍然缺少应有的社会空间。
前文提到的王一、肖莉、林小枫、娟子、曾芒芒、禾寡妇,他们的丈夫无论是“身”出轨,“心”出轨,还是“身心”同时出轨,理由却是惊人的一致,即无论自己找婚外的哪个女人、多少女人,与家庭和妻子都不矛盾,甚至和妻子完全没有关系。女性的尊严根本就不存在于他们的思想意识当中。因此,作品中那些奋力一击的女性都只能死掉。
如《渴望激情》中,率性果敢、无视世俗的小乔死了；方方的《在我的开始是我的结束》中反常规书写“男为女用”的主人公黄苏子死了；林白的《致命的飞翔》中,以“性”为武器,进行反控制、反压抑的北诺和李莴死了。正所谓“没有人的自然存在和社会存在的解放,人的精神解放就只能是海市蜃楼,就只能是美丽的幻影。”
但是毕竟“女性的地位是衡量一个民族文明程度的最好尺度。”随着生产力的发展和人类文明的进步,女性解放的主客观条件都向着越来越有力的方向发展,因此,我们有理由并有信心期待女性婚姻的美好前景和未来社会的深度和谐。
As a special kind of social relation, marriage is not only restricted by social and economic conditions but influenced by social cultures, which is particularly direct and vivid in the field of literature. This paper, taking gender politics as breakthrough point, focuses on analyzing how gender politics controls value choice, psychological structure, thinking habit and fate in the future of the women in the love and marriage by studying the works of Zhang Jie, Li Ang, Zhang Ailing, Chi Li's.
Section One Helpless Marital Choice
With the historical development, women are gradually eliminated in economic and political systems in which strength is regarded as the standard for social division. From man's point of view, man is the major while woman is just the accessory.
With the centre of attention focuses on men and their activities, physiology differences also gradually shift to power and cultural differences, which appears gender politics. Men control the basic demand of women such as survival, security, love belongings and so on. In marriage, it is reflected as stipulation of selection criteria about female marriage.
Firstly, the selection criteria of woman's marriage are prescribed by the family representative as a result of male chauvinism. All female counterparties are absent. Women are materialized as male interest symbols in marital choice.
The women, such as Mo He and Ye Lianzi in Wuzi by Zhang Jie, Lin Shi in Shafu by Li'an, Si Qiwen in Rose's Door by Tie Ning, Cao Qiqiao in Jin Suoji by Zhang Ailing, all closed their marriage according to their father's, uncle's or brother's standards, as a result, they became materialized assets symbols in the marriage of male-dominated system.
Secondly, at present, love and marriage is going without certain restriction. Even so, due to economic and cultural factors, the freedom of marital choice for women is still limited, and the standard of most women's marriage is still required to be male. Zeng Mengmeng, the heroine in Lingering Between Water and Fire by Chi Li. was finally paid allegiance to social value acceptation because the social value controlled her marriage without obtaining her feeling attached to recurrence billows. Tian Mei, the heroine in Water Goes with Sky by Fang Fang, had to endure her husband's coldness and indifference because she would have nothing at all once they divorced.
Section Two Dissimilation of Marital Psychology
Patriarchy "is internalized into people's soul by strengthening the means of education, literature and religion, for which some women hate themselves, deny themselves and accept the view that they are second-class citizens" Soaked in this social culture, women's marital psychology has been dissimilated.
One result brought by dissimilation is "all females were colonized, that is, bent to the oppression of patriarchy." When it is shown in the marriage, it's the enslavement psychology.
Mo He and Ye Lianzi in No Words, took their husbands'"Do whatever they want" as granted. Tian Mei in Water Goes with Sky by Fang Fang is willing to help her husband to commit perjury. The females, mothers-in-law, in New Marriage Times, Double-sided Glue and Our Marriage are willing to help males to tame other females.
The other result brought by dissimilation is female's fear and desire for male power. In the women's lives, the bitterness as well as their happiness comes from men. Because of the power, men make women fear, and also because of it, women desire to rely on men, for which some women "will attach importance to and insist on love for their husbands in their whole lives, no matter whether their husbands still love them, leave them or die."
For example, Ye Lianzi in No Words by Zhang Jie hasn't deserted her husband, Gu Shuiqiu, regardless of the humiliation and persecution. Wu Wei fearlessly married Hu Bingchen in order to depend on males to defeat other males. Ah Su just paid attention to Gu Shuiqiu, also out of fear of male power and desire.
Section Three The Pains of Current Marital Status
With the advent of the age of knowledge economy which has replaced capital economy gradually, more and more females attend society and their subjective freedom becomes greater and greater. The inner desire of females has awakened continuously. When it's shown in the marriage, most females are not patient in adversity and don't endure endless any longer.
When the women, such as the blind mother-in law, Mom Niuniu and He widow in Private Life by Chen Ran, Wang Yi, Wu Man in Expect Emotions by Pi Pi, Xiao Li, Lin Xiaofeng, Juanzi in Chinese Style Divorce by Wang Haiou, Zeng Mangmang in Lingering Between Water and Fire by Chi Li, are betrayed by their husbands and overpowered by patriarchy, they chose spiritual equality and freedom bravely and steadfastly. It means the times "regarding males as sun, impartial judges, all-powerful teachers, brave patron saint and embodiment of the truth" has gone for ever in their lives.
Section Four Marital perspective In Expectation
The women mentioned above challenge the reality and selfhood boldly and self-consciously, which makes us encouraged but not optimistic in the same time.
Firstly, women are always in the submission of men consistently with long-term attachment and dedication, even take pride in the dedication and deposit it into a habit and a psychological structure. Meanwhile, the female wits are confined by a long narrow family perspective and trivial housework. "Liberation" is lack of internal motivation and ability mainly so that most women are repeatedly taking efforts of "being slaves always" with the fear of "cannot be slaves"
For example, Wang Yi, in Expect Emotions, returned to her husband and family eventually.
Secondly, many of the women's political rights, employment rights and the representation rights which are provided by the society are still inveracious and limited. In the modern patriarchal society, women's liberation is still a lack of proper space.
As mentioned above, WangYi, XiaoLi, LinXiaofeng, JuanZi, Zeng Mangmang, and He widow, their husbands'reasons for derailment are the same amazingly, in "body", "heart" or both, that is, no matter which woman or no matter how many women they looked for outside of marriage, it does not conflict with the families and his wives, and even has no business with the wives. The dignity of women does not exist in their ideology at all. Therefore, the works of women who are struggling to hit can only die.
For example, in Expect Emotions, XiaoQiao is dead, who is frank and wilfred, as well as superior to mundane affairs; The heroine Huang Suzi in My Beginning, My End by Fang Fang is dead, who regarded "male for female" anti-conventionally; In Fatal Flight by Lin Bai, Bei Nuo and Li Wo are dead, who use "sex" as a weapon to anti-control and anti-repress. That is "without the liberation of human natural existence and social existence, the liberation of the human spirit can only be a mirage, only to be a beautiful illusion."
But, after all, "the status of women is the best standard to measure the degree of civilization of a nation" With the productivity development and progress of human civilization, the subjective and objective conditions of women's liberation are getting more and more powerful, therefore, we have every reason confidently to look forward to the good prospects of female marriage and the deep harmony of the future society.
第一节无奈的婚姻选择
在以体力为社会分工标准的历史发展进程中,女性逐渐被排除于经济体制和政治体制之外。在男人看来,“男人是主要的,女人只是附属品而已。”随着注意的中心集中于男性及其活动,两性生理上的差异也逐渐转变为权力和文化上的差异,进而出现性别政治。男性在提供社会框架和利益方向的同时,控制女人的生存、安全、爱的归属等基本需求,体现在婚姻上,首先是女性婚姻选择标准的“规定性”。
其一,女人的婚姻选择标准,都是被男权的家庭代表规定的,女性当事人均为缺场,女性在婚姻选择中被物化成男性的利益符号。
如张洁《无字》中的墨荷、叶莲子,李昂《杀夫》中的林市,铁凝《玫瑰门》中的司猗文,张爱玲《金锁记》中的曹七巧等人的婚姻,都是按照父亲、叔叔、哥哥规定的标准进行选择的,她们均成了男权制婚姻中被物化的资产符号。
其二,即使到了婚恋自由的当代,由于经济和文化的因素,女性婚姻选择的自由仍然是有限的,大多女性的婚恋标准仍然是被男权规定的。
如池莉《水与火的缠绵》中曾茫茫在进行了一番左挑右选之后,最后终于因社会容不得她的婚恋再起波澜而归顺了社会价值认同；方方《水随天去》中的主人公天美,因为离了婚她就一无所有,所以只能忍受丈夫的无情无意。
第二节婚姻心理的“异化”
男权制“通过教育、文学和宗教这些手段的强化,使人们将其内化在心灵深处。有些女人因此而仇视自我,否定自我,接受了自己是二等公民的看法。”在这种社会文化浸泡下,女性的婚姻心理被异化。
异化的结果之一,是“女性普遍的殖民化,即普遍屈从于男权制的压迫。”表现在婚姻关系中,就是女性的奴化心理。
如《无字》中的墨荷、叶莲子理所当然地接受丈夫的为所欲为；方方《水随天去》中的天美,自愿帮助丈夫做伪证；《新结婚时代》、《双面胶》、《我们俩的婚姻》中的婆婆们主动帮助男人驯服自己的同类。
异化的结果之二,是女性对男权力量的恐惧与渴望。在女人的生命中,苦源于男人,乐也源于男人。因为强大,男人让女人恐惧；因为强大,男人让女人渴望依赖,为此,女人“无论丈夫情感变异与否、是生离抑或死别,都将终生不渝地重视和坚持对他的爱。”
如张洁《无字》中的叶莲子无论顾秋水对她如何凌辱和迫害,都不离不弃；无为,上刀山下火海必嫁胡秉宸,只为依靠男人打败男人；阿苏唯顾秋水是从,也同样出于对男权力量的恐惧与渴望。
第三节婚姻现状的痛苦
随着知识经济逐渐取代资本经济,女性的社会参与和主体自由逐渐增多,女性的内在欲望亦不断觉醒。体现在婚姻当中,女性不再一味逆来顺受,无尽忍耐。
如陈染《私人生活》中的瞎婆婆、拗拗妈妈、禾寡妇,皮皮《渴望激情》中的王一、吴曼,王海瓯《中国式离婚》中的肖莉、林小枫、娟子,池莉《水与火的缠绵》中的曾茫茫,在遭遇丈夫背叛,男人霸权入侵后,都勇敢而坚决地选择了精神的平等和自由,意味着“把男性当做不落的太阳,当做公证的法官,当做全能的恩师,当做勇敢的保护神,当做真理的化身”的时代在她们这里一去不复返了。
第四节期待中的婚姻前景
上节提到的这些女性挑战现实和自我的果敢与清醒,在令人欣慰的同时又让人无法乐观。
其一,女性对男人一以贯之的屈从,长期依附、奉献男人,甚至以这种奉献引以为骄傲和自豪已经沉积成一种习惯、一种心理结构,加之女性长期狭窄的家庭视野、琐碎的家务,禁锢了女性的心智,“解放”在主体上缺乏内在动力和能力,大多数女性仍然怀着“做奴隶而不得”的忧惧而反复于“坐稳了奴隶”的努力。
如《渴望激情》中的王一,最终还是回归了丈夫和原来的家庭。
其二,社会所提供给女性的参政权、就业权、话语权等很多仍然是表象的、有限的,在现代男权社会中,女性解放仍然缺少应有的社会空间。
前文提到的王一、肖莉、林小枫、娟子、曾芒芒、禾寡妇,他们的丈夫无论是“身”出轨,“心”出轨,还是“身心”同时出轨,理由却是惊人的一致,即无论自己找婚外的哪个女人、多少女人,与家庭和妻子都不矛盾,甚至和妻子完全没有关系。女性的尊严根本就不存在于他们的思想意识当中。因此,作品中那些奋力一击的女性都只能死掉。
如《渴望激情》中,率性果敢、无视世俗的小乔死了；方方的《在我的开始是我的结束》中反常规书写“男为女用”的主人公黄苏子死了；林白的《致命的飞翔》中,以“性”为武器,进行反控制、反压抑的北诺和李莴死了。正所谓“没有人的自然存在和社会存在的解放,人的精神解放就只能是海市蜃楼,就只能是美丽的幻影。”
但是毕竟“女性的地位是衡量一个民族文明程度的最好尺度。”随着生产力的发展和人类文明的进步,女性解放的主客观条件都向着越来越有力的方向发展,因此,我们有理由并有信心期待女性婚姻的美好前景和未来社会的深度和谐。
As a special kind of social relation, marriage is not only restricted by social and economic conditions but influenced by social cultures, which is particularly direct and vivid in the field of literature. This paper, taking gender politics as breakthrough point, focuses on analyzing how gender politics controls value choice, psychological structure, thinking habit and fate in the future of the women in the love and marriage by studying the works of Zhang Jie, Li Ang, Zhang Ailing, Chi Li's.
Section One Helpless Marital Choice
With the historical development, women are gradually eliminated in economic and political systems in which strength is regarded as the standard for social division. From man's point of view, man is the major while woman is just the accessory.
With the centre of attention focuses on men and their activities, physiology differences also gradually shift to power and cultural differences, which appears gender politics. Men control the basic demand of women such as survival, security, love belongings and so on. In marriage, it is reflected as stipulation of selection criteria about female marriage.
Firstly, the selection criteria of woman's marriage are prescribed by the family representative as a result of male chauvinism. All female counterparties are absent. Women are materialized as male interest symbols in marital choice.
The women, such as Mo He and Ye Lianzi in Wuzi by Zhang Jie, Lin Shi in Shafu by Li'an, Si Qiwen in Rose's Door by Tie Ning, Cao Qiqiao in Jin Suoji by Zhang Ailing, all closed their marriage according to their father's, uncle's or brother's standards, as a result, they became materialized assets symbols in the marriage of male-dominated system.
Secondly, at present, love and marriage is going without certain restriction. Even so, due to economic and cultural factors, the freedom of marital choice for women is still limited, and the standard of most women's marriage is still required to be male. Zeng Mengmeng, the heroine in Lingering Between Water and Fire by Chi Li. was finally paid allegiance to social value acceptation because the social value controlled her marriage without obtaining her feeling attached to recurrence billows. Tian Mei, the heroine in Water Goes with Sky by Fang Fang, had to endure her husband's coldness and indifference because she would have nothing at all once they divorced.
Section Two Dissimilation of Marital Psychology
Patriarchy "is internalized into people's soul by strengthening the means of education, literature and religion, for which some women hate themselves, deny themselves and accept the view that they are second-class citizens" Soaked in this social culture, women's marital psychology has been dissimilated.
One result brought by dissimilation is "all females were colonized, that is, bent to the oppression of patriarchy." When it is shown in the marriage, it's the enslavement psychology.
Mo He and Ye Lianzi in No Words, took their husbands'"Do whatever they want" as granted. Tian Mei in Water Goes with Sky by Fang Fang is willing to help her husband to commit perjury. The females, mothers-in-law, in New Marriage Times, Double-sided Glue and Our Marriage are willing to help males to tame other females.
The other result brought by dissimilation is female's fear and desire for male power. In the women's lives, the bitterness as well as their happiness comes from men. Because of the power, men make women fear, and also because of it, women desire to rely on men, for which some women "will attach importance to and insist on love for their husbands in their whole lives, no matter whether their husbands still love them, leave them or die."
For example, Ye Lianzi in No Words by Zhang Jie hasn't deserted her husband, Gu Shuiqiu, regardless of the humiliation and persecution. Wu Wei fearlessly married Hu Bingchen in order to depend on males to defeat other males. Ah Su just paid attention to Gu Shuiqiu, also out of fear of male power and desire.
Section Three The Pains of Current Marital Status
With the advent of the age of knowledge economy which has replaced capital economy gradually, more and more females attend society and their subjective freedom becomes greater and greater. The inner desire of females has awakened continuously. When it's shown in the marriage, most females are not patient in adversity and don't endure endless any longer.
When the women, such as the blind mother-in law, Mom Niuniu and He widow in Private Life by Chen Ran, Wang Yi, Wu Man in Expect Emotions by Pi Pi, Xiao Li, Lin Xiaofeng, Juanzi in Chinese Style Divorce by Wang Haiou, Zeng Mangmang in Lingering Between Water and Fire by Chi Li, are betrayed by their husbands and overpowered by patriarchy, they chose spiritual equality and freedom bravely and steadfastly. It means the times "regarding males as sun, impartial judges, all-powerful teachers, brave patron saint and embodiment of the truth" has gone for ever in their lives.
Section Four Marital perspective In Expectation
The women mentioned above challenge the reality and selfhood boldly and self-consciously, which makes us encouraged but not optimistic in the same time.
Firstly, women are always in the submission of men consistently with long-term attachment and dedication, even take pride in the dedication and deposit it into a habit and a psychological structure. Meanwhile, the female wits are confined by a long narrow family perspective and trivial housework. "Liberation" is lack of internal motivation and ability mainly so that most women are repeatedly taking efforts of "being slaves always" with the fear of "cannot be slaves"
For example, Wang Yi, in Expect Emotions, returned to her husband and family eventually.
Secondly, many of the women's political rights, employment rights and the representation rights which are provided by the society are still inveracious and limited. In the modern patriarchal society, women's liberation is still a lack of proper space.
As mentioned above, WangYi, XiaoLi, LinXiaofeng, JuanZi, Zeng Mangmang, and He widow, their husbands'reasons for derailment are the same amazingly, in "body", "heart" or both, that is, no matter which woman or no matter how many women they looked for outside of marriage, it does not conflict with the families and his wives, and even has no business with the wives. The dignity of women does not exist in their ideology at all. Therefore, the works of women who are struggling to hit can only die.
For example, in Expect Emotions, XiaoQiao is dead, who is frank and wilfred, as well as superior to mundane affairs; The heroine Huang Suzi in My Beginning, My End by Fang Fang is dead, who regarded "male for female" anti-conventionally; In Fatal Flight by Lin Bai, Bei Nuo and Li Wo are dead, who use "sex" as a weapon to anti-control and anti-repress. That is "without the liberation of human natural existence and social existence, the liberation of the human spirit can only be a mirage, only to be a beautiful illusion."
But, after all, "the status of women is the best standard to measure the degree of civilization of a nation" With the productivity development and progress of human civilization, the subjective and objective conditions of women's liberation are getting more and more powerful, therefore, we have every reason confidently to look forward to the good prospects of female marriage and the deep harmony of the future society.
引文
[1][2]王咨臣等：《历代食货志今译》江西人民出版社1986年版,第68页。
[3]甘民重：《历代食货志今译(旧唐书食货志新唐书食货志)》,江西人民出版社,1987年版,第38页。
[4]太祖朝：《重译满文老档》,辽宁大学历史系出版社,1979版,第41页。
[5]肖巍：《性别研究与女性主义伦理学》超星学术视频,http://videol. ssreader. com/videoinfo. asp?id=271。
[6](法)西蒙·波伏娃：《第二性——女人》,桑竹影、南姗译,湖南文艺出版社,1986版,第5页。
[7]方方：《树树皆秋色》,北京十月文艺出版社,2004年版,第16页。
[8]徐志锐：《周易大传新著》,齐鲁书社,1986年版,第526页。
[9]李银河：《女性主义》,山东人民出版社,2005年版,第48页。
[10]恩格斯：《家庭、私有制和国家的起源》,中共中央马、恩、列、斯著作编译局译,人民出版社1972年版,第54页。
[11](英)约翰·斯图尔特·密尔《女性的屈从地位》：转引自李银河《女性主义》,山东人民出版社,2005年版,第17页。
[12][15]方方：《水随天去》,北京十月文艺出版社,2004年版,第57页、第58页。
[13][28]鲁迅《灯下漫笔(桂冠散文系列9)》,海南出版社,1993年版,第79页。
[14][16]章梅芳、刘兵：《性别与科学读本》,上海交通大学出版社,2008年版,第8页。
[17](法)卢梭《爱弥尔》：转引自李银河《女性主义》,山东人民出版社,2005年版,第8页。
[18](法)西蒙·波伏娃《第二性》,李强译,北京西苑出版社,2004年5月版,第148页。
[19](美)凯特·米利特：《性政治》,江苏人民出版社,2000年版[中译本],
第33页。
[20]张洁：《无字》(第二部),北京十月文艺出版社2002年版,第350页。
[21]刘慧英《走出男权传统的藩篱——男权中文学意识的批判》生活·读书·新知。上海三联书店。1996年版,第80页。
[22](奥地利)茨威格：http://blog. eduol. cn/UploadFiles/2007-4。
[23]裔印昭《百年国际妇女运动发展的历程和启示》http://219.238.228.244/ zw/NewsServlet2?method=showZw&newsId=1165。
[24][25]申平华、邓微：《女性世界——现代女性社会学》,湖南出版社,1992年4月第一版,第201页,第202页。
[26]皮皮：《渴望激情》,南海出版公司,2002年9月第一版,第1页。
[27]告子《四书今译》,江西人民出版社,1986年版,第217页。
[29][32](法)西蒙·波伏娃《第二性》,转引自俸耀旭个人空间：http://blog. sina. com. cn/s/blog_5e6e05330100gkvn. html。
[30]申平华、邓微：《女性世界——现代女性社会学》,湖南出版社,1992年4月第一版,第200页。
[31]刘慧英：《九十年代男女作家写作中女性形象的欲望对象化》,《中国女性文化》创刊号及第三期。
[33]凯瑟琳·麦金依(Catherine Mackinnon):《建立女性主义的国家理论》(Toward a Feminist Theory of the State),转引自柏棣《平等与差异：西方后现代主义女性主义理论》一文,鲍晓兰主编《西方女性主义研究评介》三联书店,1995版,第9页。
[34]聂绀弩：《在西安》重庆：新华日报出版社,1946年版,第35页。
[35]李银河：《女性主义》,山东人民出版社,2005年版,第4页。
1. 《女性世界——现代女性社会学》：申平华 邓微,湖南出版社,1992年4月版。
2. 《第二性》：(法)西蒙·波伏娃,李强译,北京西苑出版社,2004年5月版。
3. 《走出男权传统的藩篱——男权中文学意识的批判》(生活·读书·新知)：刘慧英,上海三联书店,1996年4版。
4. 《女性主义》：李银河,山东人民出版社,2005年版。
5. 《快感：文化与政治》：(美)弗雷德里克·詹姆逊(Fredric Jameson)著；王逢振等译中国社会科学出版社,1998年3月版。
6. 《性政治》：(美)凯特·米利特(Kate Millett)著；宋文伟译,江苏人民出版,2000版。
7. 《女性心理》：张尔玺宋辉著,中国妇女出版社,1992年9月版。
8. 《中国女性文化》：荒林,王红旗主著,中国文联出版公司出版,2000版。
9. 《中国婚姻文化大潮》：程继龙,吉林人民出版社,1991年8月版。
[3]甘民重：《历代食货志今译(旧唐书食货志新唐书食货志)》,江西人民出版社,1987年版,第38页。
[4]太祖朝：《重译满文老档》,辽宁大学历史系出版社,1979版,第41页。
[5]肖巍：《性别研究与女性主义伦理学》超星学术视频,http://videol. ssreader. com/videoinfo. asp?id=271。
[6](法)西蒙·波伏娃：《第二性——女人》,桑竹影、南姗译,湖南文艺出版社,1986版,第5页。
[7]方方：《树树皆秋色》,北京十月文艺出版社,2004年版,第16页。
[8]徐志锐：《周易大传新著》,齐鲁书社,1986年版,第526页。
[9]李银河：《女性主义》,山东人民出版社,2005年版,第48页。
[10]恩格斯：《家庭、私有制和国家的起源》,中共中央马、恩、列、斯著作编译局译,人民出版社1972年版,第54页。
[11](英)约翰·斯图尔特·密尔《女性的屈从地位》：转引自李银河《女性主义》,山东人民出版社,2005年版,第17页。
[12][15]方方：《水随天去》,北京十月文艺出版社,2004年版,第57页、第58页。
[13][28]鲁迅《灯下漫笔(桂冠散文系列9)》,海南出版社,1993年版,第79页。
[14][16]章梅芳、刘兵：《性别与科学读本》,上海交通大学出版社,2008年版,第8页。
[17](法)卢梭《爱弥尔》：转引自李银河《女性主义》,山东人民出版社,2005年版,第8页。
[18](法)西蒙·波伏娃《第二性》,李强译,北京西苑出版社,2004年5月版,第148页。
[19](美)凯特·米利特：《性政治》,江苏人民出版社,2000年版[中译本],
第33页。
[20]张洁：《无字》(第二部),北京十月文艺出版社2002年版,第350页。
[21]刘慧英《走出男权传统的藩篱——男权中文学意识的批判》生活·读书·新知。上海三联书店。1996年版,第80页。
[22](奥地利)茨威格：http://blog. eduol. cn/UploadFiles/2007-4。
[23]裔印昭《百年国际妇女运动发展的历程和启示》http://219.238.228.244/ zw/NewsServlet2?method=showZw&newsId=1165。
[24][25]申平华、邓微：《女性世界——现代女性社会学》,湖南出版社,1992年4月第一版,第201页,第202页。
[26]皮皮：《渴望激情》,南海出版公司,2002年9月第一版,第1页。
[27]告子《四书今译》,江西人民出版社,1986年版,第217页。
[29][32](法)西蒙·波伏娃《第二性》,转引自俸耀旭个人空间：http://blog. sina. com. cn/s/blog_5e6e05330100gkvn. html。
[30]申平华、邓微：《女性世界——现代女性社会学》,湖南出版社,1992年4月第一版,第200页。
[31]刘慧英：《九十年代男女作家写作中女性形象的欲望对象化》,《中国女性文化》创刊号及第三期。
[33]凯瑟琳·麦金依(Catherine Mackinnon):《建立女性主义的国家理论》(Toward a Feminist Theory of the State),转引自柏棣《平等与差异：西方后现代主义女性主义理论》一文,鲍晓兰主编《西方女性主义研究评介》三联书店,1995版,第9页。
[34]聂绀弩：《在西安》重庆：新华日报出版社,1946年版,第35页。
[35]李银河：《女性主义》,山东人民出版社,2005年版,第4页。
1. 《女性世界——现代女性社会学》：申平华 邓微,湖南出版社,1992年4月版。
2. 《第二性》：(法)西蒙·波伏娃,李强译,北京西苑出版社,2004年5月版。
3. 《走出男权传统的藩篱——男权中文学意识的批判》(生活·读书·新知)：刘慧英,上海三联书店,1996年4版。
4. 《女性主义》：李银河,山东人民出版社,2005年版。
5. 《快感：文化与政治》：(美)弗雷德里克·詹姆逊(Fredric Jameson)著；王逢振等译中国社会科学出版社,1998年3月版。
6. 《性政治》：(美)凯特·米利特(Kate Millett)著；宋文伟译,江苏人民出版,2000版。
7. 《女性心理》：张尔玺宋辉著,中国妇女出版社,1992年9月版。
8. 《中国女性文化》：荒林,王红旗主著,中国文联出版公司出版,2000版。
9. 《中国婚姻文化大潮》：程继龙,吉林人民出版社,1991年8月版。