论张爱玲的女性意识及其文学表现

On Zhang Ailing’s Female Consciousness and Her Literary Expression

张爱玲文学创作的与众不同,源自其独特的阅人观物方式:她喜欢在大的背景中安置普通人物,以小见大,在俗趣中发现本真。这种阅人观物的方式表现于其散文随笔,见解独到,而且涉笔成趣;表现于其小说人物,则常中见奇,奇中蕴常。女性生活及其命运一直是张爱玲关心、关注的主体。以此方式体察女性,则在被传统男性话语简单类型化的各类女性中翻出了新意,还原了被忽视的自我和被遮蔽的生命本真。张爱玲从中学时代发表小说《霸王别姬》中"姬别霸王"女性意识初现,到抗战胜利后为其编剧的电影《太太万岁》写的"题记",其中对"好太太"各种不近人情的克己之价值质疑,再到1956年身在美国发表的《五四遗事》中对五四青年爱情婚姻出现"三美团圆"的荒唐呈现,她一直都在从不同的角度表达和丰富着她对女性的思考。而1940年代代表其思想和艺术水平的《流言》和《传奇》,更是从理论和创作两个方面系统深入地阐释了张爱玲的女性意识。

The uniqueness of Zhang Ailing’s literary writing lies in her unusual way of viewing people and the world:setting the ordinary people in a grand historical background,piercing the surface of daily trivial matters and showing the natural humanity through secular affairs,which intrigues her essays and makes vivid the ordinary but also romantic characters in her novels.Female’s life and their destiny have always been Zhang Ailing’s literary concern.She penetrates the complicated weaves of romance and ordinariness,reveals the novel female images who have been simply typed by traditional male discourse,and restores the neglected"self"and the veiled nature of life.From the initial female consciousness in"Farewell My Concubine"published in her middle school age,to the inscription of"Hooray Madam"(a movie script written after victory of the War of Resistance against Japanese)in which the value of"Good wife"is critically challenged for her impersonal self-sacrifice,and to the ridiculous demonstration of the"Three Beauties’Reunions"in"Stories Left by May the 4 th"written in America in 1956,Zhang Ailing never ceases her thinking on Chinese females’situation and their fates from various perspectives.The two masterpieces"Written on Water"and"Legends"written in 1940’s speaks more of her female consciousness both theoretically and practically.