论沦陷区女性的自我追寻与超越——以苏青《结婚十年》和杨绛《风絮》为例  

On the Self-pursuit and Transcendence of Women in the Japanese-occupied Areas——A Study Centered around Su Qing’s Ten Years of Marriage and Yang Jiang’s Feng Xu

作　　者：程姗 CHENG Shan(College of Chinese Language and Literature,Northwest Normal University,Lanzhou,Gansu Province 730030)

机构地区：[1]西北师范大学文学院,甘肃兰州730030

出　　处：《楚雄师范学院学报》2022年第5期39-45,共7页Journal of Chuxiong Normal University

摘　　要：苏青和杨绛作为20世纪40年代上海沦陷区的文学缪斯,其文学创作着意于书写爱情和女性婚后生活等无关时局与政治的题材。笔者通过对苏青小说《结婚十年》和杨绛戏剧《风絮》的对比研究,深入阐释造成苏青不彻底的女性主义和杨绛彻底的女性主义的根源,从而得出结论:苏青女性主体意识的遮蔽是出于作家个人现代性和封建传统家庭的矛盾及单身母亲经济负累下的妥协;杨绛女性主体意识的张扬则是来自于新式开明的家庭教育、西方个人主义和主体意识的影响及京派文化浸染下知识分子的自觉坚守。As literary muses in occupied Shanghai in the 1940s,Su Qing and Yang Jiang aimed at writing about love and women’s married life far from politics and the war-torn world.By making an indepth explanation of the causes underlying Su Qing’s incomplete feminism and Yang Jiang’s thorough feminism through comparing Su Qing’s novel Ten Years of Marriage and Yang Jiang’s play Feng Xu,this paper comes to the conclusion that Su Qing’s halfway female consciousness is due to the contradiction between the writer’s personal modernity and the feudal traditional family as well as her compromise of a single mother’s economic burden while Yang Jiang’s complete female consciousness comes from the insistence of the elite intellectuals under the influence of the new liberal family education,the Western idea of individualism and subjectivity,and influence of the Beijing School culture.

关 键 词：《结婚十年》 《风絮》 上海沦陷区文学 女性主义 

分 类 号：I207.42[文学—中国文学]