“旧人”如何通往“新事”——婚姻家庭叙事的中老年妇女形象及其革命潜能  

How Do“Old Figures”Navigate“New Realities”?--Images of Middle-Aged and Elderly Women in Marital and Family Narratives and Their Revolutionary Potential

作　　者：王琳 WANG Lin(School of International Cultural Exchange,Central University of Finance and Economics,Beijing 100081,China)

机构地区：[1]中央财经大学国际文化交流学院,北京100081

出　　处：《妇女研究论丛》2025年第2期108-118,共11页Journal of Chinese Women's Studies

摘　　要：在20世纪中国的青年政治话语影响下,乡村中老年妇女通常被表述为封建守旧者,其多元生命经验与革命潜能易遭到遮蔽。本文聚焦20世纪四五十年代人民文艺婚姻家庭叙事中这一群体的多重面貌:赵树理笔下的乡村中老年妇女,既是反封建的批评对象,又承载着乡土世界的生活实感;沪剧电影《罗汉钱》对《登记》的媒介改编,以“小飞蛾”在乡村空间的主体言说与情感召唤来推动“移风易俗”;新中国《婚姻法》宣传片则通过母爱政治重塑乡村中老年妇女形象,并构建女性的代际联盟。中老年妇女的“旧人”身份内蕴与“新事”联结的革命动能,其生命经验的情感公共化为突破代际隔阂、激活人民政治包容性提供了可能。Under the influence of youth political discourse in 20th-century China,rural middle-aged and elderly women were often portrayed as feudal conservatives,overshadowing their diverse life experiences and revolutionary potential.This paper focuses on the multiple facets of this group in literary and artistic narratives of marriage and family during the 1940s-1950s:rural middle-aged and elderly women in Zhao Shuli's works served both as targets of anti-feudal criticism and carriers of the lived reality of rural life;the Shanghai opera film The Arhat Coin(adapted from Registration)used Xiaofei'e's subjective voice and emotional appeals in rural spaces to promote“changing social customs”;and propaganda films for the New China's Marriage Law reconstructed the image of rural middle-aged and elderly women through maternal politics,fostering intergenerational female alliances.The“old-fashioned”identity of these women harbored revolutionary momentum that connected with“new realities”,while the emotional publicization of their life experiences provided possibilities for bridging generational divides and activating the inclusivity of people's politics.

关 键 词：中老年妇女 婚姻家庭 革命 人民文艺 《婚姻法》宣传 

分 类 号：I206.7[文学—中国文学]