当代女性作家的家族叙事

【作者】 毕文君；

【导师】 张清华；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2006， 硕士

【摘要】 当代文学的家族叙事是从现代文学中延伸的文学主题,它一直为当代作家青睐,出现了革命历史题材的家族叙事、新历史主义小说的家族叙事等,当代家族叙事在80年代末到90年代达到繁盛,期间产生了大量优秀作品,女性作家的家族叙事也在这个时期出现并迅速成熟,并为当代文学的家族叙事提供了一种独特的形态,即:女性家族叙事。她们在家族叙事的主题开掘、文化内涵、叙事话语、叙事美学等方面作出了重要探索。可以说当代女性作家集体的、历史的文学定义过程和自我寻根之路正是从家族叙事这里开始的。家族叙事的文学命题在当代文学中最早可以追溯到十七年时期的革命历史题材中的家族叙事,在男性作家开创的革命历史题材的叙事模式中,本就稀少的女性作家只能在改头换面的红色叙事中隐隐露出家族的影子,女性作家自我的寻根之路被强制性切断了。文革结束后,反思与重建成为了整个社会的统一命题,“寻根文学”的出现标志着这场反思与重建在文学领域所能达到的高度。值得注意的是:女性作家的寻根意识在此开始有所表露,但她们并未找到更为贴合女性的叙事主题,也未确立女性文化身份的文学样式。而八十年代崭露头角并迅速壮大的先锋作家们,他们的新历史小说中的家族叙事可谓当代文学家族叙事的第二个较有代表性的文本集合,但对于历史的过分游戏倾向反倒限制了他们在家族叙事主题的发挥,而当代女性作家却在这种极端的历史书写与滞后的家族叙事状态之间找到了自己的文学命题,也正是在这些文学资源的影响下,逐渐形成了属于当代女性作家自身的家族叙事形态。重新梳理并廓清这条当代女性作家家族叙事文学主题的变化脉络,以历史性的眼光审视个人与家国、作家与时代的纠结,寻觅家族叙事在当代文学中存在的轨迹,可见:当代女性家族叙事并非偶然,它不仅是对萧红、张爱玲所提供的女性家族叙事经验的复活,更体现了当代女性家族叙事自身所属的特殊的当代文学背景:在断裂中成长,在接续中成熟,它的最终凸现一方面是对男性家族背景的淡化甚至是反拨,另一方面更是对女性家族世系、文化谱系的强化和树立,它的出现弥补了十七年时期女性同家族叙事话语的断裂,也在某种意义上纠正了八十年代先锋作家在家族叙事和历史叙事之间所存在的保守与先锋的巨大反差,弥合了八十年代文化寻根中女性文化寻根的空缺状态。更多还原

【Abstract】 The clan narrative of contemporary literature is a literature subjectwhich extends from the modern literature.This subject is favoredcontinuously by contemporary writers, appearing the revolutionaryhistory theme’s clan narrative, the clan narrative of thenew-historicism’s novels and so on.From the end of 80’s to 90’s ,thewriting on this subject culminates prosperity,thus producing a lot ofoutstanding works.The women-writers’ family narrative also appears inthis time and has become mature quickly,which has provided one kind ofunique shape for the contemporary literature , namely: the feminine clannarrative.They have made the important explorations on various conceptssuch as cultural connotation, narrative discourse and narrativeesthetics.May say the contemporary women-writers’collective andhistorical literature definition process and the road to self-inquiry isprecisely from here.The clan narrative theme may trace to revolutionary historical themeclan narrative in 17 years period.In the masculine writers’revolutionary history theme,the scarce women-writers only changedexternal appearances,so their road to self was shut offcompulsorily.After the Great Cultural Revolution ended,reviewing andreconstructing were unified problems of the whole society. Root-seekingliterature symbolized the degree of the course which could achieve inthe literature domain.The worth noting fact is: although thewomen-writers’consciousness of root-seeking starts revealing, theycan’t find the fitting feminine narrative subject to establish theirown feminine cultural status through their literature style. The secondrepresentative text sets were 80’s avant-garde writers .The excessivedisconstructing position limited their display on clan narrativesubject.Just under this situation these literature factors influencecontempory women-writers’ writings on feminine clan narrative. Cleaningup this cue can carefully examine the relations between family andcountry, writer and time.Through these relations we can see that thissubject’s existence is by no means accidental.It is not only narrativeexperiences’ reactivating provided by Xiao Hong and Zhang Ailing but alsothe manifest of their special contemporary literature backgrounds. Growthfrom the break and mature in continuing finally show the trend.On the onehand it is to deny the masculine family background, on the other hand itis to strengthen and set up the feminine family lineage and the culturalevolution.Its appearance has made up 17 years time’s female blank, alsocorrecting the deep gap of the 80’s avant-garde writers and closing thevacancy condition of the 80’s root-seeking cultures.The subject has passed through an unceasingly digging process whereeach female writers all carried on own literature creation. Speciallyspeaking, this process may divide into three levels regarding differentexcavation and the attention. First is to describe the space and time spanwhich a family generation of border transforms and to construct the bloodrelationship based on feminine generation of border evolution. Althoughthese works have not got rid of several generations of people’spatterns ,the women-writers’ establishing attempt to get rid of the fatherright of the matriarchal family lineage. This is not only the start ofthe contemporary women-writers seeking own blood origion but alsoidentity of matriarchal culture based on the matriarchal bloodrelationships.Moreover they have not ignored these homogeneousdiscrimination, the resistance and the injury which hide behind thematriarchal cultural identity. This kinds of identity and resistance,support and injury reflect their thinking and perplexion about the bloodrelationships,including theirs’puzzling with the feminine wholesurvival condition. The works on this subject contains "Rose Gate", "Doesnot have Character"and "Our Family’s Women". Next is the attention on thesingle feminine, trying hard to demonstrate the feminine individualcommon custom and life in the folk society, in which the family femalesexpress their tragedy complex to survive. Narrative in these works iscontaining the women-writers’life experiences and pouring into theirreal grief moods. These are "On-the-spot report And Fiction", "HungryDaughter"and "Oak’s Convict". The third is to reseek the complex relationsbetween history, nationality, family and female narrative in thefeminine family, which manifests the obvious myth imagination.It presentstwo aspects. On the one hand the female writers tend to seek the primaryand the innate feminine cultural heros ’ myth world by taken "FeatherSnake" as the representative. On the other hand the tendency is thewomen-writers’ immediately returning to the primary condition offeminine folk society and excavating feminine culture still multiplyingthe vigor and re-establishing them in the present cultural value,taking"Does not have Language take Hero" and "Woman Chats Record" as therepresentations. Compared with the same time masculine writers, femininewriters’ family narrative culture connotations are not completelysame.In the cultural embodiment, the different also is one kind of uniquevalue lied.So the family narrative literature subject has preciselydemonstrated these profound meanings behind sex differences based on thiskind of narrative main body.Viewed from ethics morals , it manifests thefemale social sex sight to show loving care and change ethics of the malesocial sex ,which highlight the female to show loving care for the life,the attention on individuals, and caring about other people’s culturalcontents. Respected from historical connotation , it expresses historicalwritings which the feminine individual presents among the contemporaryfeminine writer family . In the historical human nature region they havemade their literature seekings filled with deep affections with thesurvival situations, describing the human nature experiences of thefeminine individuals regarding misery undertaking ,transmitting the fatecomplex with which the family feminine characters after long-rangehistory raids. Looked from theology connotations, it has presented a pieceof feminine principle theology landscape, which presents two aspects.First is the offering sacrifices of women-writers -like life beliefwhich is revealed in their works.They and feminine leading charactersrigidly look for share and shield which the mother has given .In a sensethe mother in their life faiths surpasses the embodiment existence andbecomes the manifestation of the belief life. Second are meaningfulmaternal theology images, which not only are the decodings of themasculine cultural marks but also are understanding symbols of life beliefand marks of maternal pursue based on individual life experiences.The contemporary feminine writers have more prominent main bodyconsciousness and narrative self-consciousness.They have made theimportant explorations in aspect of family narrative words, narrativeesthetics and so on. Compared with the same time masculine writers, thecontemporary feminine writers’ family narrative have own unique familynarrative words and the family narrative esthetics features. Differentfrom the masculine moral words and the historical words of the masculinewriters in family narrative words the feminine writer have selected thefeminine main body narriative and they have portrayed a series of feminineleading characters, who have the independent narrative functions breakingthe feminine words flaw on the ancient times as well changing the sametime’s masculine writers’writings.Above all feminine leadingcharacters have attached coordinate appearance and in this kind offeminine main body narrative the feminine life length and the textnarrative span fold mutually. From this time on let these feminine leadingcharacters start to have the integrity narrative path and certain viewof feminine main body narrative angle. But the feminine main bodynarrative words of the contemporary feminine writers’ family narrativeare not merely the pause of the pure sex discrimination level, but becauseits unique myth narrative words they change the narrative value and thesignificance of research .Besides examined from the narrative estheticscharacteristics,contemporary feminine writer’s family narrativeesthetics manifests ultra examining and mysterious specialities. Thiskind of characteristics concretely manifest presentation of God’senligtening in the texts——like saying towards their God and specialcharacteristic of myth thought.更多还原