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1976年10月,曾使整个民族陷于灭顶之灾的“文化大革命”的结束,标志着一个新历史时期的到来。于是,新时期文学在复兴和繁荣中显示出的生命强力,将中国当代文学嵌入一个空前灿烂的召唤之景,在这一景观下,新时期女小说家发出的文学召唤,更显示出独有的魅力。由于在新中国成立后相当长的历史时间里,被过分强化和扭曲的“女国民”无性意识,曾经使投入文学创作的女性不约而同地握住清一色的中性之笔,成为时代——政治或某种思想、路线、方针和政策的附庸,这样,她们便不由自主地遵循着无性的书写路线与社会通行的文学表现内容和形式,把自己消融在男性为本位的国家政治中。新时期的女小说家,终于可以摆脱庸俗社会学的牢笼,把自己的创作真正作为向人——女人的生命本体和文学本位回归的一种女性表现。这种表现,则是在整
In October 1976, the end of the “Cultural Revolution” that put the entire nation in a drowned state marks the arrival of a new historical period. Thus, in the renaissance and prosperity of the literature in the new era, the life force displayed in the literature embodies an unprecedented supremely brilliant call of sight. In this view, the literary summons from the female novelists in the new period shows even more uniqueness Charm. Because of the sexually conscious “female nationals” that were over-emphasized and distorted in the relatively long historical period after the founding of People’s Republic of China, women in literary literary genres spontaneously took the same neutral pen and became an era-political or They are vassals of certain ideologies, lines, principles and policies so that they involuntarily follow asexual writing lines and literary expressions and forms prevailing in society to dissolve themselves into male-oriented national politics. The female novelist in the new era can finally get rid of the cage of vulgar sociology and truly present her own creation as a kind of female performance returning to the human-woman life essence and literary standard. This performance is in the whole