余华的小说大体可以分为两个时期,即20世纪80年代到90年代的先锋时期,以及90年代以来的文学创作时期。余华90年代以来的创,可以被分为两个阶段,以《许三观卖血记》为划分,第一个阶段中所创作的女性形象尽管各具特色,但仍然具有着平面化的特征,表现为性格单一,没有复杂的心理冲突,比如《为什么没有音乐》里的吕媛,《女人的胜利》中的林红,《战栗》里的马兰,《活着》中的家珍和凤霞。在《为什么没有音乐》中,吕媛的形象可以说和90年代以前的作品中的女性人物形象没有任何区别,都是因剧情而产生的角色,被赋予的是平面化和 Yu Hua’s novels can be divided into two periods: the vanguard period from the 1980s to the 1990s and the literary creation period from the 1990s on. Yu Hua’s creation since the 1990’s can be divided into two stages, divided by “Xu San-guan’s Selling Blood Record”. The female images created in the first stage, though distinctive, still have the characteristics of planarization , Manifested as a single personality, there is no complex psychological conflicts, such as “why there is no music” in Lu Yuan, “Women’s Victory,” Lin Hong, “trembling” in Ma Lan, “alive” in the home Jane and Feng Xia . In “Why there is no music”, Luhuan’s image can be said that there is no difference between the images of women in the works before the 90s and the characters in the works, all of which are caused by the plot,