The prostitute image is one of the research topics in literary criticism. Prostitutes are the victims of the desire of human beings. Behind the sexual transaction, evil forces that drove poor women into prostitution a...The prostitute image is one of the research topics in literary criticism. Prostitutes are the victims of the desire of human beings. Behind the sexual transaction, evil forces that drove poor women into prostitution are concealed. In the following four literary works: The Sun Also Rises, A Street Car Named Desire, The Crescent Moon and Husband, the inner beauty of prostitutes as a wife or a mother is highly praised and the dark side of the contemporary society is exposed. The thesis begins with the depiction of four prostitutes' individual shining points and weaknesses in personality. And then it describes the family backgrounds and social backgrounds the four prostitutes lived in, and states the influence of those backgrounds on them respectively. The thesis finally puts forward the realistic significance.展开更多
In the volume of Chinese literature of Ming and Qing dynasties, there are a lot of well-known figures of women rebels, who have been highly spoken of by many later critics for their braveness in breaking the conventio...In the volume of Chinese literature of Ming and Qing dynasties, there are a lot of well-known figures of women rebels, who have been highly spoken of by many later critics for their braveness in breaking the conventional and unfair rules made for women in that male-centered society. In the traditional point of view, the appearance of these literary figures marks the awareness of self-consciousness of women. But this paper, by analyzing two of the representative figures of them, Miss Du Liniang （杜丽娘） in Tang Xianzu＇s drama The Peony Pavilion （牡丹亭） and the women in the Women＇s Kingdom （女儿国） in Li Ruzhen＇s novel Flowers in the Mirror （镜花缘）, tries to figure out and distinguish the superficial gender dependence and the real but hidden role of ＂the other＂ in these characters. It purports to convince that such processes of rebellion are none the less women＇s tragedies, for they serve only to show Chinese women＇s unchangeable position of ＂the second sex＂ in the traditional male-centered society of old China, but merely in some new and different ways.展开更多
文摘The prostitute image is one of the research topics in literary criticism. Prostitutes are the victims of the desire of human beings. Behind the sexual transaction, evil forces that drove poor women into prostitution are concealed. In the following four literary works: The Sun Also Rises, A Street Car Named Desire, The Crescent Moon and Husband, the inner beauty of prostitutes as a wife or a mother is highly praised and the dark side of the contemporary society is exposed. The thesis begins with the depiction of four prostitutes' individual shining points and weaknesses in personality. And then it describes the family backgrounds and social backgrounds the four prostitutes lived in, and states the influence of those backgrounds on them respectively. The thesis finally puts forward the realistic significance.
文摘In the volume of Chinese literature of Ming and Qing dynasties, there are a lot of well-known figures of women rebels, who have been highly spoken of by many later critics for their braveness in breaking the conventional and unfair rules made for women in that male-centered society. In the traditional point of view, the appearance of these literary figures marks the awareness of self-consciousness of women. But this paper, by analyzing two of the representative figures of them, Miss Du Liniang （杜丽娘） in Tang Xianzu＇s drama The Peony Pavilion （牡丹亭） and the women in the Women＇s Kingdom （女儿国） in Li Ruzhen＇s novel Flowers in the Mirror （镜花缘）, tries to figure out and distinguish the superficial gender dependence and the real but hidden role of ＂the other＂ in these characters. It purports to convince that such processes of rebellion are none the less women＇s tragedies, for they serve only to show Chinese women＇s unchangeable position of ＂the second sex＂ in the traditional male-centered society of old China, but merely in some new and different ways.
