摘要
小说、电视剧,频繁的家庭纠葛与婚姻背后的剖析,让我们记住了这样一位敏感而坚韧的女性——王海鸰,她的婚恋题材作品在社会上掀起了一重重收视热浪,引发了与其相关话题的争论、思考与研究。
女作家王海鸰凭借自己一颗敏锐的心,用手中的笔记叙了一个又一个普通人的婚姻故事,真实地展示了中国当代的婚姻现状。本论文以王海鸰作品为依据,从社会环境、家庭特征以及女人自身的天性三方面论述女性在社会、婚姻、家庭中的矛盾处境。王海鸰认为婚姻对于女人并不是必需的,它可以是生活方式的一种而不是惟一的选择。她的作品中的婚恋故事负载着作者对现实婚姻清醒认识下所隐含的否定与消解,难免带有个人色彩的偏激。
In recent years, in every case the works of Wang Hailing were published, they almost became popular one after another. There were always passionate discuss on the media, the network and the literary world. As the novels and the cinematic productions of Wang Hailing become more and more popular, people give her an appellation called”The first master-hand of Chinese marriage”.Wang Hailing expatiates marriage bewilderment and sequentially bring the social consideration with her compose ways of“calmness and approximately barbarity”, the love stories in her novels embody the denial and negative that are concealed in the clear-headed understand of modern marriage. So they are very hardly to avoid having individual extreme, but they bring forth the marriage actuality of China factually and revert to the essence of the marriage. However, corresponding to the widely known works of Wang Hailing, most people do not understand the authoress herself and her thought. The text is trying to take her works as cut-in points, contact the idiographic social environment, family character and the nature of female, emphasize particularly on the author and her inner world, expect to more people understand Wang Hailing.
With the development of our sociality, the traditional social gender mode has changed, more and more women join the society and participate in the social activities, people approve this kind of social progress. But the modern women in her novels, although they can earn their own living and entirely an image of“social new women”, but in their heart they are hard to avoid the restrict of the social gender part and the influence of traditional female model image, they still could not get rid of the so called women image that traditional part endow them. Whether the Su Diandian who wants go home on her own initiative nor the Xia Xiaoxue and Li Xiao who are entangled by the family and the Lin Xiaofeng who go home for the riches and honor of her husband and glory of her. They do not walk out of the localization that is constituted by the history on the way of striving for independence and equality. We can see that if traditional opinion influence the part expect of women in society, we lay particular stress on neither they are virtuous wife or not when evaluate women, well then it will influence the understanding and the judge of their own gender part. It is not enough for women to regard the work as a existent rice bowl, they should work hard in the base of social work in time and living in a creative way instead of living with the lowest income.
From the year of 1949, when Chinese women work out to take part in socialist economy construction, they have income and can help themselves on economy, their status in family improve a lot. However, most women are intellective people, even some advanced white collars who have certain level of status in society, but they still could not get rid of the fetter of traditional family mode, the works outside the family are only a“chicken rib”that will make them fatigue and not devote themselves, they form a kind of reliant mentality for the saying of getting old together. The women in her works who believes”men must have career, women must have men who have careers”: Lin Xiaofeng、Xia Xiaoxue、Su Diandian、Li Xiao etc, they give up themselves for their family, the final is that they are betrayed by their husbands. These women are always act the traditional part, through the depiction of their unlucky marriage, Wang Hailing criticize the traditional family marriage mode in her works. Moreover, through the figure of the divorced women, she also breaks the women highbrow idea of marriage, gainsays the necessity and sublime of the marriage and penetrate the anti-marriage consciousness in the cockles of her heart.
At all times and in all over the world, when the writers depict love, they pay a tribute to it as a kind of chasteness、heavenliness and eternal sensibility in human lives. But this kind of affectionate fable full of romantic enthusiasm and ideal joviality is criticized by Wang Hailing in her works. The women in her works, whether the school beauty Xia Xiaoxue, classical beauty Su Diandian or Wei Shenshen who’s beauty will make one tumble, they all regard love as their religions, and these women who thirst for love myth in the works of Wang Hailing could not obtain ideal affection, what is more they lose themselves in the marriage and are betrayed by their husbands. Wang Hailing think that love is not eternal, it can transform and disappear, well then the marriage based on love is not unbreakable. and then Wan Hailing let love clear up in the marriage configuration full of common customs and blankness, she negates the immutability and eminence of love, at the same time, she also bear the weight of her denial towards marriage. Her negative attitude towards marriage is influenced by her experience and it is hard to avoid bringing some individual extreme.
Marriage is a ponderous and never repeated topic, there is no one textbook could tell you the standard key of the marriage. Women should not devote themselves to the marriage or exclude marriage blindfold because of temporarily happy or unhappy, these are not advisable. Love is a asseveration, marriage is a pronouncement, women should cherish and create with their catholicity and brightness. No matter how hard and how happy they are, they should not give up themselves, to be a really intact woman, only in this way, they can put their lifelong blessedness into reality.
引文
[1][2][4][5][22][35][41] 王海鸰:《不嫁则已》 武汉:长江文艺出版社,2003.6 P7,P6,P5,P5,P7,P310 ,P190
[3] 王海鸰:《新结婚时代》北京:作家出版社,2006.9 P26
[6] 恩格斯:《马恩全集 21 卷》北京:人民出版社,1965.9 P87
[7][15][16][20][21][34][42] 王海鸰:《中国式离婚》北京:北京出版社,2004 P30,P89,P90,P125,P219,P42,P197
[8] [26][27][32][49]《文化娱乐》2007.6 期
[9] [10][11][12][17] [31] [33][37][40][46][47] 王海鸰:《牵手》北京:人民文学出版社,1999.5 P12,P3,P3,P34,P122,P122, P262,P117,P384,P349,P345
[13] 孟宪范:《转型社会中的中国妇女》 北京:中国社会科学出版社,2004.6 P235
[14] 杜芳琴,王向贤:《妇女与社会性别研究在中国(1987~2003)》天津:天津人民出版社, 2003.9 P237
[18] [29] 戴小华:《婚姻中的女人不快乐》 广州:花城出版社,1998.5 P121,P121
[19] http://book.sina.com.cn/author/subject/2004-09-16/3 107074.shtml王海鸰新浪聊天实录
[23] 王海鸰:《大校的女儿》北京:人民文学出版社,2002.1 P182
[24] 扎采宾:《夫妻生活论》北京: 中国国际广播出版社,1987.2 P147
[25] 李小江:《解读女人》南京:江苏人民出版社,1999 .8 P155
[28] 司徒玫《婚内婚外》北京:光明日报出版社,1998.8 P90
[30] Hegel,Philosophy of Right,P10
[36] 魏少华:《男权格局下的女性视角——评电视剧〈中国式离婚〉的话语空间》2005 年第 9 期
[38] 波伏娃:《第二性》北京:中国书籍出版社,1998.2 P487
[39] 恩格斯:《马恩全集 21 卷》北京:人民出版社,1965.9 P87
[43] 叔本华:《悲喜人生:叔本华论说文集》 西安:陕西师范大学出版社,2002.9 P180
[44]《大象电影》总第 703 期 2007.第 01 期 P37
[45] 施寄青:《走过婚姻——女人的革命》皇冠文化出版社
[48] 刘宏伟:《永不平庸──军队三栖女作家王海鸰的创作道路》1999 年第 2 期
1.邵 爱 《回眸一笑,尽是尴尬——从王海鸰影视作品看当代“围城”生活 》2006 年第 6 期
2.吴志凌 《婚姻的溃败与个性的张扬——王海鸰〈中国式离婚〉解读》 2006 年第 4 期
3.曹红蓓 《做全职太太不是奉献》 2004 年第 37 期
4.张 诚 《〈中国式离婚〉讲的不是离婚》 2004 年第 10 期
5.刘宏伟 《永不平庸──军队三栖女作家王海鸰的创作道路》 1999 年第 2 期
6.陈虹妹 《今生我们将与谁“牵手”——读王海鸰的小说〈牵手〉》 1999 年第 3 期
7.车素芳 《试论王海鸰婚恋小说的模式化创作》 2006 年第 4 期
8.周 蜜 《从囹圄到突围——〈中国式离婚〉的女性主义觉悟》 2006 年第 2 期
9.王瑞娟 《女人·婚姻·避难所——从〈围城〉和〈中国式离婚〉看女性的婚恋出路》2006 年第 4 期
10.魏少华 《男权格局下的女性视角——评电视剧〈中国式离婚〉的话语空间》2005 年第 9 期
11.止 凡 《谁导演了这场“中国式离婚”?》 2005 年第 19 期
12.骆 平 《解读婚姻的不惑之年》 2004 年第 11 期
13.曹红蓓 《做全职太太不是奉献》 2004 年第 37 期
14.汤 津 《曾经与〈牵手〉牵手》 1999 年第 12 期
1.王海鸰 《中国式离婚》北京:北京出版社,2004
2.王海鸰 《牵手》北京:人民文学出版社,1999 .5
3.王海鸰 《不嫁则已》武汉:长江文艺出版社,2003.6
4.王海鸰 《大校的女儿》北京:人民文学出版社,2002 .1
5.王海鸰 《新结婚时代》北京:作家出版社,2006 .9
6.波伏娃 《第二性》北京:中国书籍出版社,1998.2
7.叔本华 《叔本华论说文集》北京:商务印书馆
8.李银河 《中国人的性爱与婚姻》北京:中国友谊出版公司,2002 .4
9.李小江 《解读女人》南京:江苏人民出版社 1999 .8
10.大卫·切尔《家庭生活的社会学》上海:中华书局,2005
11.安 琪 《单身隐私》北京:团结出版社,1998
12.戴小华 《婚姻中的女人不快乐》广州:花城出版社, 1998.4
13.司徒玫 《婚内婚外》北京:光明日报出版社,1998.7
14.徐安琪 《世纪之交中国人的爱情和婚姻》北京:中国社会科学出版社,1998
15.巴丹特尔《男女论》长沙:湖南文艺出版社, 1998
16.扎采宾 《夫妻生活论》北京:中国国际广播出版社,1987.2
17.潘允康 《家庭社会学》北京:中国审计出版社,2002 .1
18.施寄青 《走过婚姻——女人的革命》皇冠文化出版社