“DINK”即英文.“Daple In No Kiddy”缩写的中文谐音.“丁克夫妇”是英文DINK的音译,特指双收入、无子女的夫妇.它代表着一种崭新的“家庭模式”——具有生育能力的夫妇自愿不要孩子,而组成一个个自由自在的“两人世界”.六七十年代,...“DINK”即英文.“Daple In No Kiddy”缩写的中文谐音.“丁克夫妇”是英文DINK的音译,特指双收入、无子女的夫妇.它代表着一种崭新的“家庭模式”——具有生育能力的夫妇自愿不要孩子,而组成一个个自由自在的“两人世界”.六七十年代,欧、美、日本等国曾流行着这样的“两人世界”,并称之为“丁克家庭”或“丁克夫妇”.随着工业化,城市化的进一步发展,“丁克夫妇”这一家庭模式带给社会一个崭新的现象.一、“DINK家庭”冲击神州本来,丈夫、妻子、孩子,这是普天下公认的最标准的家庭结构,而中国的生育观念受小农经济的制约,追求的是传宗接代,多子多孙.然而,曾几何时,在当今中国的一些城市也开始出现了“DINK家庭”,而且数量与年俱增.当中绝大多数人是年轻人.十年前,美国未来学家阿尔温·托夫勒在《第三次浪潮》中提出的“不生育文化”,在古老的中国大地上同样有了市场.据北京的一次调查表明。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“DINK”即英文.“Daple In No Kiddy”缩写的中文谐音.“丁克夫妇”是英文DINK的音译,特指双收入、无子女的夫妇.它代表着一种崭新的“家庭模式”——具有生育能力的夫妇自愿不要孩子,而组成一个个自由自在的“两人世界”.六七十年代,欧、美、日本等国曾流行着这样的“两人世界”,并称之为“丁克家庭”或“丁克夫妇”.随着工业化,城市化的进一步发展,“丁克夫妇”这一家庭模式带给社会一个崭新的现象.一、“DINK家庭”冲击神州本来,丈夫、妻子、孩子,这是普天下公认的最标准的家庭结构,而中国的生育观念受小农经济的制约,追求的是传宗接代,多子多孙.然而,曾几何时,在当今中国的一些城市也开始出现了“DINK家庭”,而且数量与年俱增.当中绝大多数人是年轻人.十年前,美国未来学家阿尔温·托夫勒在《第三次浪潮》中提出的“不生育文化”,在古老的中国大地上同样有了市场.据北京的一次调查表明。
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.
