| 摘要: | 上海女作家是一個特殊的創作群體，這個群體的創作有其特殊的風格。自上世紀四十年代至今，這個群體大致經歴了三個階段。第一個階段以張愛玲、蘇青為代表；第二個階段以王安憶、程乃珊為代表；第三個階段以衛慧、棉棉為代表。這三個階段雖有其各自時代的不同烙印，但也其共同特色。因此，全面研究這三個階段的整體性及其流變，對於研究上海文學，尤其是上海之女性文學深具價值。在四十、五十年代風雲際會的上海，張愛玲、蘇青以不同的筆觸描繪著男性，張愛玲筆下的男性，肉體成熟而精神殘障；蘇青筆下的男性，怯懦、虛偽。在八十、九十年代社會大變革中的上海，王安憶、程乃珊經過不同成長環境的洗禮，用各自手中的筆描繪著心中的男性，王安憶筆下的男性與女性可以平等對話，程乃珊筆下的男性失去了以往的男權。在九十年代後人性解放中的上海，衛慧、棉棉在揮霍自己青春的同時，不約而同地以筆記錄下各自人生經歴中所遇到的男性，在她們的筆下男性成為女性之附庸。在這三個階段中，上海女作家群體的創作發生了流變。在她們的小說中，男性從最初與女性對立，到對視，再到同病相憐。這個流變的過程，正是女性獨立意識逐漸強化之過程。
本文共分五章，第一章緒論，討論本文之研究動機與範圍、女作家小說中的男性形象，並概要論述上海女作家的流變；第二章以張愛玲、蘇青為例，研究二十世紀四十、五十年代上海女作家小說中的男性形象；第三章以王安憶、程乃珊為例，研究二十世紀八十、九十年代上海女作家小說中的男性形象；第四章以衛慧、棉棉為例，研究二十世紀九十年代以後上海女作家小說中的男性形象；第五章為結語。
Shanghai female writers are a group of special people whose writing styles are creative. Since1940s, they has experienced approximately three stages. Zhang Ailing and Su Qing are the representatives at the first stage; Wang Anyi and Cheng Naishan are the representatives at the second stage; as well as Wei Hui and Mian mian are representative at the third stage.Although these three stages are different, they have their common characteristics. Therefore, the comprehensive study about the integrity and changing of these three stages is of great value to Shanghai literature, particularly to Shanghai feminine literature.
The political situation in Shanghai was unstable between 1940s and 1950s. Zhang Ailing and Su Qing described males in different ways in their novels. In her novels,Zhang Ailing described men as physical maturity and mental disabilities, while Su Qing depicted them as timid and hypocritical.
Between 80s and 90s, Shanghai faced tremendous transformation. Wang Anyi and Cheng Naishan experienced different growing backgrounds. They had their own ways to describe male. Male and female can talk equally in Wang Anyi''s novels. However, in Cheng Naishan''s novels, male lost power they had. After 1990s, sex was liberated in Shanghai. Wei Hui, Mian mian wrote down the men they met in their lives, describing how they squandered their youth on those men who in their novels became female dependency.
In these three stages, the creative writing styles had changed. In their novels, men and women show their confrontation, understanding, and then sympathy to each other. The process is gradually strengthening the awareness of women''s independence.
This article is divided into five chapters. The first chapter is to introduce the motivation , scope of this paper and the general remarks of male in female writers’ novels; the second chapter is the discussion of material to deal with masculine image in Zhang Ailing''s and Su Qing''s novels between 1940s and 1950s; The third chapter is to study masculine image in Wang Anyi''s and Cheng Naishan''s novels in 1980s and 1990s Shanghai; the fourth chapter is to research masculine image in Wei Hui''s and Mian’s novels in 1990s; the fifth chapter includes conclusion and research suggestions. |
