“到大马路去”与“走到楼上去”:丁玲和张爱玲的两种爱情叙事模式  

“Go to the Main Street”and“Go Upstairs”:Two Love Narrative Modes of Ding Ling and Eileen Chang

作　　者：陈诗婕 CHEN Shijie

机构地区：[1]福建师范大学文学院,福建福州350007

出　　处：《海峡人文学刊》2023年第3期74-84,115,158,共13页Journal of Humanities Across the Straits

摘　　要：本文通过分析丁玲和张爱玲的爱情叙事模式,分析两人如何思考五四以来“娜拉出走”的问题,分别以“到大马路去”和“走到楼上去”归结出“双玲”的爱情叙事模式。丁玲以“到大马路去”的叙事模式叙述女性唯有走入人群、积极参与社会解放,才能实现妇女自身的解放,从而实现妇女与社会的双向解放,由此形成丁玲独特的妇女解放思考路径。张爱玲将穿衣吃饭、婚恋嫁娶视为女性的头等大事,消解了“娜拉出走”的意义,指向女性“走到楼上去”的悲观生存处境,以处在楼上的“隔着”的状态实现女性清醒的旁观意识,建构一套独特的女性悲剧美学叙事。By analyzing love-narrative mode of Ding Ling and Eileen Chang,this paper analyzes how they think about the problem of“Nora’s running away”since May 4th Movement,and sums up love narrative mode of them by“go to the main road”and“go upstairs”.With narrative mode of“go to the main road”,Ding Ling narrated that only by entering the crowd and actively participating in social liberation can women realize their own liberation,thus realizing the two-way liberation of women and society,and forming Ding Ling’s unique thinking path of women’s liberation.Eileen Chang regarded dressing,eating,marriage and love as the most important things for women,dispelled meaning of“Nora’s running away”,pointed out the living situation of women“go upstairs”,realized the individual’s sober bystander consciousness in the state of“separation”upstairs,and constructed a unique aesthetic narrative of female tragedy.

关 键 词：女性意识 丁玲 张爱玲 爱情叙事 

分 类 号：I207.42[文学—中国文学]