张爱玲《倾城之恋》对灰姑娘心理原型的沿用与突破  

The Adoption and Breakthrough of Cinderella’s Psychological Prototype in Eileen Chang Love in a Fallen City

作　　者：杜炫佼 DU Xuan-jiao(School of Literature and Cultural Communication,Tianshui Normal University,Tianshui741001,Gansu)

机构地区：[1]天水师范学院文学与文化传播学院,甘肃天水741001

出　　处：《商洛学院学报》2022年第3期49-53,共5页Journal of Shangluo University

摘　　要：张爱玲小说中塑造了诸多“灰姑娘”式的人物形象,通过“灰姑娘”形象的塑造对灰姑娘心理原型模式进行了沿用与突破。张爱玲沿用灰姑娘心理原型塑造出的女性都自卑、依附男性、把婚姻当作社会生存的唯一手段。但《倾城之恋》中的白流苏形象对此有所突破,她大胆挑战传统与丈夫离婚,在镜子中发现自我,更有意削弱范柳原作为男性的优越感。张爱玲笔下的女性人物往往难逃传统灰姑娘的命运,而白流苏形象则增添了传统灰姑娘心理模式中缺失的一面——现代女性的自我寻找意识。这不仅折射出了女性内心对婚姻的渴望和对男性的依赖情结,同时也反映了张爱玲对女性生存问题的深切关怀。In Eileen Chang’s novels, many "Cinderella" character images are portrayed. With these images characterized, the model of Cinderella’s psychological prototype has been used and broken through. Cinderella’s psychological prototype is employed to create women who are inferior, dependent on men, and regard marriage as the only means of social survival. However, the image of Bai Liusu in Love in the Fallen City has made a breakthrough in this. She courageously challenges the tradition to divorce her husband, finds herself in the mirror, and even more intentionally weakens Fan Liuyuan’s superiority as a male. The female characters in Eileen Chang’s works often cannot escape the fate of traditional Cinderella, but the image of Bai Liusu adds an aspect that is missing from the traditional Cinderella mental model—the self-seeking consciousness of modern women. It not only reflects women’s inner desire for marriage and dependence on men, but also reflects Eileen Chang’s deep concern for women’s survival issues.

关 键 词：张爱玲 《倾城之恋》 白流苏 心理原型 灰姑娘情结 

分 类 号：I207.42[文学—中国文学]