五四“新女性”构想的一个侧面——五四新诗中的“女郎”形象考察

One Conception of“New Women”in the May 4th Movement——An investigation into the image of“girl”on the May 4th new poetry

清末译诗对“女郎”是一种情绪化、抽象化的呈现,“女郎”摆脱了经验实体,成为特殊情感取向和精神气质的功能载体,兼具中国与西方、古典与浪漫的双重文化特征。这为五四新诗提供了先在经验。“恋人”和“风景”作为“女郎”的形象表征,经新诗体的阐发,暗合了五四个性解放、女性追求独立人格的时代文化思潮和叙事逻辑。而在情感结构中,“女郎”又以一种“缺席”的状态诠释了女性作为“他者”存在的事实。总而观之,五四新诗对“女郎”的塑造既有现代转向的萌芽,但又难以摆脱传统“男性—中心,女性—边缘”文化认知的纠缠,饱含着五四知识分子对传统文化欲拒还迎、爱恨交织的矛盾情结。

Presented in an emotional and abstract manner in the translated poems of the late Qing Dynasty,the image of“girl”got rid of the empirical entity and became a functional carrier of special emotional orientation and spiritual disposition.The dual cultural features,either Chinese and western or classical and romantic,provide transcendental experiences for the May Fourth New Poetry.Elaborated as the representations of“girl”in the new poetry,images of“lovers”and“landscape”coincide with the individual emancipation and women’s pursuit of independent personality,which are trends of cultural thoughts and narrative logic in the era of the May 4th Movement.In the emotional structure,the absent state of“girl”interprets the fact that women exist as“the others”.In a word,the characterization of“girl”in the May Fourth New Poetry shows the embryonic period of a modern turn,though it is hard to shake off the entanglement of traditional cultural cognition,namely,“male-centered,female-marginalized”.May Fourth intellectuals are reluctant and ambivalent about whether to accept the traditional culture with mixed love-hate feelings.