《太阳照在桑干河上》的女性话语研究  

A Study of Feminine Discourse in Sunlight on the Sanggan River

作　　者：陈红玲[1] 田斌[1] 

机构地区：[1]邵阳学院中文系,湖南邵阳422000

出　　处：《邵阳学院学报（社会科学版）》2017年第1期71-74,共4页Journal of Shaoyang University:Social Science Edition

基　　金：湖南省社会科学基金项目"延安文学中的女性话语研究"(15YBB063)

摘　　要：丁玲的思想和创作在"向左转"后,她曾鲜明的女性话语,逐渐由显性转为了隐性。《太阳照在桑干河上》有无丁玲创作个性的体现,一直是学术界争议的一个话题。通过对《太阳照在桑干河上》中以李子俊女人和黑妮为代表的系列女性形象进行分析后发现:丁玲创作并没有放弃她的女性话语表达方式,虽主观上努力用主流意识形态指导自己的创作,但潜意识里还是把她一贯的女性视角带入到了《太阳照在桑干河上》创作中。After Ding Ling turned to radicalism in ideology and creation, the once explicit feminine discourse in her works gradually became implicit. It has always been a controversial topic in academic circle whether Ding Ling^ creative individuality can still be found in S u n l ig h t o n th e S a n g g a n R iv e r . Through a study of series of female images represented by Li Zijun and Heiniu in her works, ifs found that Ding Ling never gave up her expression of feminine discourse in her creation. Though subjectively she tends to guide her own creation by means of mainstream ideology, subconsciously her constant feminine perspectives are reflected in the creation of S u n l ig h t o n th e S a n g g a n R iv e r .

关 键 词：丁玲 《太阳照在桑干河上》 女性话语 革命话语 

分 类 号：I206.6[文学—中国文学]