User:Liao Wenyao - Revision history

Liao Wenyao at 06:06, 31 December 2024

2024-12-31T06:06:32Z

Liao Wenyao at 06:01, 31 December 2024

2024-12-31T06:01:09Z

Liao Wenyao at 05:53, 31 December 2024

2024-12-31T05:53:26Z

Liao Wenyao at 05:50, 31 December 2024

2024-12-31T05:50:58Z

Liao Wenyao at 05:43, 31 December 2024

2024-12-31T05:43:19Z

Liao Wenyao at 05:04, 31 December 2024

2024-12-31T05:04:36Z

Liao Wenyao at 05:03, 31 December 2024

2024-12-31T05:03:38Z

Liao Wenyao at 04:08, 31 December 2024

2024-12-31T04:08:10Z

Liao Wenyao at 04:07, 31 December 2024

2024-12-31T04:07:27Z

Liao Wenyao at 03:53, 31 December 2024

2024-12-31T03:53:36Z

@@ Line 101: / Line 101: @@
 Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)
 As what has been mentioned above, the historical background of the work demonstrates a "grotesque" era in which the endogenous regulatory system that has been existed from the past hundred years engaged deeply with aspects of the social mobility. And the entrenched institutions failed to promptly "give birth to" a modern as well as civilized social system across the board. The traditional "patriarchal clan" concept culture was also articulated In Zhang Ailing's ''Half of Lifelong Romance''. "Patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" are the key words in the work: "Patriarchal chiefs system" indicates that the greatest authority and property would be passed to the first-born son (嫡长子) delivered by the eldest wife or a concubine while following the institution of polygamy in the Chinese imperial system. Under the circumstance, and the rest of the sons(庶子) would be deemed to be less noble than the eldest son. The hereditary king of the Zhou Dynasty was called the Son of Heaven, who was the political master of the world. And the throne and the position of the great lords would only be inherited by the eldest son of the eldest wife once the dominant character passed away. It is notable that the integrity and competence were not taken into account for selecting heads of all levels of power. In Half of Lifelong Romance, Shen Xiaotong(Shen Shijun's father) was of the higest rank of nobility in the Shen clan and his supremacy could be alloted to anyone at his disposal. A wife and a concubine of Shen Xiaotong were respectively described, one of them was lawfully wedded wife and the other one was given the support of concubinage. The male master of the story is the eldest son of lawful spouse, he was attempting to earn a tint of fortune in Shanghai. Therefore, it is described in the plot that when Shen Xiaotong was seriously ill, he urgently summoned Shen Shijun to return home, and because Shijun could be regarded as "嫡长子", he entrusted "reliance" to Shijun, which also highlights the clout of "patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" in Chinese culture. (Zhao 2012, 132)
@@ Line 108: / Line 106: @@
 '''2.2 Chen Ping(Sanmao)--Soul with the Wind'''
 Sanmao, also known as Chen Ping, is a trailblazing writer in China. Her lifelong pursuit of freedom is the miracle of a unique life, the mighty rivers and vast landscapes she talked about in the books serve as the console for thousands of readers to escapism. The cultural elements defined by diversified Chinese traditions could also be identified in ''The Rainy Season Will Never Come''(《雨季不再来》), which includes her pure love and sincere attitude towards people. And the concept is in close alignment with the "universal love" of Mohism, which advocates the practice of love without distinctions despite the respective relationship and origins. Equal care for others, the quality of tolerant and inclusive mentality of Sanmao could always be found in her other articles. (Yu 2017, 33)

@@ Line 102: / Line 102: @@
 Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)
-[[File:https://www.baidu.com/link?url=hJQJAN-mzRAugw3-8mxvdgXXSc5PbL_SQq9i2OH7o0pFro0dMtCzr-VGBoT_AK_BohcbpNLUEZ1m_v4Qa7l4GP2FgTNy8cSNvvtmI6yW1Lw5ibcGn3GhX9jVbY2s3rcBrZNKFS86Q8LK6omSslq7Wd0FuWBt0RP6Zm3GFqDrlkQ1SQKfPGflLD6i-YZpSkU6Re-pSEQ6NxiwnMp9b9V9Kliw7AxNL6E8WSV5YyRvBFc8zfqYWldyOV2CmfdIwaCluKRkmRhjSR-unCqJ5hylcTwzLEtuQUYJhQGpVBdBCQEUAhFMXnKrk46fR5FbXIZgiY-C0FiPi8aoBKfH7czaqr1ZCpQuf3D9UWBERQMUw0FRRrsVPorqIs8VA9TmjqHtiPDRgj3dpeYqUvE5DHrLJCF1ua1W_6rMoZnzrXn1SVgW2Kw_jTj5VKGwwpI8Nn463NqGgSOOPfGG6Rwns-A9SXMYO_zrYlIXp9xDpC-QoGGuZcAT3famIcuhQuHsEg73iuC7w165Mq2bKykEM3WKTWdgbll2ap3Pz74Mst0a1QtAMkOw8_NiPkotUpAb1X-aJdmeSgMmrBQtVN93oa3QbsBcwyITllo7UCtNkFfyOlnaFYw_vtiXqu_RHLbyG7KyfMzEw7EvFKevDKqi0UngHZYci_fHI8rALl1WIALQQi1hYnm1uHkrsg3bBHHwVNbpvbDsyj6YA51dPN-i2YnyPK&wd=&eqid=ecc19693000e09c600000006677386a3]]
+[[File:]]
 As what has been mentioned above, the historical background of the work demonstrates a "grotesque" era in which the endogenous regulatory system that has been existed from the past hundred years engaged deeply with aspects of the social mobility. And the entrenched institutions failed to promptly "give birth to" a modern as well as civilized social system across the board. The traditional "patriarchal clan" concept culture was also articulated In Zhang Ailing's ''Half of Lifelong Romance''. "Patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" are the key words in the work: "Patriarchal chiefs system" indicates that the greatest authority and property would be passed to the first-born son (嫡长子) delivered by the eldest wife or a concubine while following the institution of polygamy in the Chinese imperial system. Under the circumstance, and the rest of the sons(庶子) would be deemed to be less noble than the eldest son. The hereditary king of the Zhou Dynasty was called the Son of Heaven, who was the political master of the world. And the throne and the position of the great lords would only be inherited by the eldest son of the eldest wife once the dominant character passed away. It is notable that the integrity and competence were not taken into account for selecting heads of all levels of power. In Half of Lifelong Romance, Shen Xiaotong(Shen Shijun's father) was of the higest rank of nobility in the Shen clan and his supremacy could be alloted to anyone at his disposal. A wife and a concubine of Shen Xiaotong were respectively described, one of them was lawfully wedded wife and the other one was given the support of concubinage. The male master of the story is the eldest son of lawful spouse, he was attempting to earn a tint of fortune in Shanghai. Therefore, it is described in the plot that when Shen Xiaotong was seriously ill, he urgently summoned Shen Shijun to return home, and because Shijun could be regarded as "嫡长子", he entrusted "reliance" to Shijun, which also highlights the clout of "patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" in Chinese culture. (Zhao 2012, 132)
@@ Line 108: / Line 108: @@
 '''2.2 Chen Ping(Sanmao)--Soul with the Wind'''
 Sanmao, also known as Chen Ping, is a trailblazing writer in China. Her lifelong pursuit of freedom is the miracle of a unique life, the mighty rivers and vast landscapes she talked about in the books serve as the console for thousands of readers to escapism. The cultural elements defined by diversified Chinese traditions could also be identified in ''The Rainy Season Will Never Come''(《雨季不再来》), which includes her pure love and sincere attitude towards people. And the concept is in close alignment with the "universal love" of Mohism, which advocates the practice of love without distinctions despite the respective relationship and origins. Equal care for others, the quality of tolerant and inclusive mentality of Sanmao could always be found in her other articles. (Yu 2017, 33)

← Older revision		Revision as of 05:53, 31 December 2024
Line 101:		Line 101:

	Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)		Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)
		+
		+	[[File:https://www.baidu.com/link?url=hJQJAN-mzRAugw3-8mxvdgXXSc5PbL_SQq9i2OH7o0pFro0dMtCzr-VGBoT_AK_BohcbpNLUEZ1m_v4Qa7l4GP2FgTNy8cSNvvtmI6yW1Lw5ibcGn3GhX9jVbY2s3rcBrZNKFS86Q8LK6omSslq7Wd0FuWBt0RP6Zm3GFqDrlkQ1SQKfPGflLD6i-YZpSkU6Re-pSEQ6NxiwnMp9b9V9Kliw7AxNL6E8WSV5YyRvBFc8zfqYWldyOV2CmfdIwaCluKRkmRhjSR-unCqJ5hylcTwzLEtuQUYJhQGpVBdBCQEUAhFMXnKrk46fR5FbXIZgiY-C0FiPi8aoBKfH7czaqr1ZCpQuf3D9UWBERQMUw0FRRrsVPorqIs8VA9TmjqHtiPDRgj3dpeYqUvE5DHrLJCF1ua1W_6rMoZnzrXn1SVgW2Kw_jTj5VKGwwpI8Nn463NqGgSOOPfGG6Rwns-A9SXMYO_zrYlIXp9xDpC-QoGGuZcAT3famIcuhQuHsEg73iuC7w165Mq2bKykEM3WKTWdgbll2ap3Pz74Mst0a1QtAMkOw8_NiPkotUpAb1X-aJdmeSgMmrBQtVN93oa3QbsBcwyITllo7UCtNkFfyOlnaFYw_vtiXqu_RHLbyG7KyfMzEw7EvFKevDKqi0UngHZYci_fHI8rALl1WIALQQi1hYnm1uHkrsg3bBHHwVNbpvbDsyj6YA51dPN-i2YnyPK&wd=&eqid=ecc19693000e09c600000006677386a3]]

	As what has been mentioned above, the historical background of the work demonstrates a "grotesque" era in which the endogenous regulatory system that has been existed from the past hundred years engaged deeply with aspects of the social mobility. And the entrenched institutions failed to promptly "give birth to" a modern as well as civilized social system across the board. The traditional "patriarchal clan" concept culture was also articulated In Zhang Ailing's ''Half of Lifelong Romance''. "Patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" are the key words in the work: "Patriarchal chiefs system" indicates that the greatest authority and property would be passed to the first-born son (嫡长子) delivered by the eldest wife or a concubine while following the institution of polygamy in the Chinese imperial system. Under the circumstance, and the rest of the sons(庶子) would be deemed to be less noble than the eldest son. The hereditary king of the Zhou Dynasty was called the Son of Heaven, who was the political master of the world. And the throne and the position of the great lords would only be inherited by the eldest son of the eldest wife once the dominant character passed away. It is notable that the integrity and competence were not taken into account for selecting heads of all levels of power. In Half of Lifelong Romance, Shen Xiaotong(Shen Shijun's father) was of the higest rank of nobility in the Shen clan and his supremacy could be alloted to anyone at his disposal. A wife and a concubine of Shen Xiaotong were respectively described, one of them was lawfully wedded wife and the other one was given the support of concubinage. The male master of the story is the eldest son of lawful spouse, he was attempting to earn a tint of fortune in Shanghai. Therefore, it is described in the plot that when Shen Xiaotong was seriously ill, he urgently summoned Shen Shijun to return home, and because Shijun could be regarded as "嫡长子", he entrusted "reliance" to Shijun, which also highlights the clout of "patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" in Chinese culture. (Zhao 2012, 132)		As what has been mentioned above, the historical background of the work demonstrates a "grotesque" era in which the endogenous regulatory system that has been existed from the past hundred years engaged deeply with aspects of the social mobility. And the entrenched institutions failed to promptly "give birth to" a modern as well as civilized social system across the board. The traditional "patriarchal clan" concept culture was also articulated In Zhang Ailing's ''Half of Lifelong Romance''. "Patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" are the key words in the work: "Patriarchal chiefs system" indicates that the greatest authority and property would be passed to the first-born son (嫡长子) delivered by the eldest wife or a concubine while following the institution of polygamy in the Chinese imperial system. Under the circumstance, and the rest of the sons(庶子) would be deemed to be less noble than the eldest son. The hereditary king of the Zhou Dynasty was called the Son of Heaven, who was the political master of the world. And the throne and the position of the great lords would only be inherited by the eldest son of the eldest wife once the dominant character passed away. It is notable that the integrity and competence were not taken into account for selecting heads of all levels of power. In Half of Lifelong Romance, Shen Xiaotong(Shen Shijun's father) was of the higest rank of nobility in the Shen clan and his supremacy could be alloted to anyone at his disposal. A wife and a concubine of Shen Xiaotong were respectively described, one of them was lawfully wedded wife and the other one was given the support of concubinage. The male master of the story is the eldest son of lawful spouse, he was attempting to earn a tint of fortune in Shanghai. Therefore, it is described in the plot that when Shen Xiaotong was seriously ill, he urgently summoned Shen Shijun to return home, and because Shijun could be regarded as "嫡长子", he entrusted "reliance" to Shijun, which also highlights the clout of "patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" in Chinese culture. (Zhao 2012, 132)

@@ Line 154: / Line 154: @@
 marinated duck 卤水鸭
-Chinese bird’s nest cake 燕窝糕
+Chinese bird's nest cake 燕窝糕
 '''Questions:'''

@@ Line 181: / Line 181: @@
 '''References:'''
                                                      '''女性作家专题：张爱玲、陈平（三毛）、林奕含及李碧华'''
@@ Line 239: / Line 267: @@
 '''参考文献：'''
 [1]贾颖妮. 魂归何处——论李碧华小说对女性命运的探讨[J]. 当代文坛, 2004, (03): 102-104.
@@ Line 263: / Line 292: @@
 [12] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.
-[13] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals[M]. Cambridge: CUP, 1999,
+[13] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals [M]. Cambridge: CUP, 1999,
 I hereby guarantee that I have not used the help of AI to write my final paper in this course.

@@ Line 240: / Line 240: @@
 '''参考文献：'''
 [1]贾颖妮. 魂归何处——论李碧华小说对女性命运的探讨[J]. 当代文坛, 2004, (03): 102-104.
 [2]林丹娅.女性话语的文学境遇[J].东南学术,2004,(01):132-140.
-[3]林奕含. 房思琪的初恋乐园[M]. 北京: 北京联合出版公司, 2018..
 [4]刘光宇,冬玲. 女性角色演变与中国妇女解放——中国现代女性文学的文化透视[J]. 山东师大学报(社会科学版), 2000, (02): 10-14.
 [5] 三毛. 雨季不再来[M]. 北京: 北京十月文艺出版社, 2009.
 [6] 王炳钧,王炎,汪民安,等. 空间、现代性与文化记忆[J]. 外国文学, 2006, (04): 76-87.
 [7] 王宁. 文化身份与中国文学批评话语的建构[J]. 甘肃社会科学, 2002, (01): 3-6.
 [8] 喻徳琴. 文本叙事角度下的《梦里花落知多少》[J]. 语文建设, 2017, (15): 33-34.
 [9] 张爱玲. 半生缘[M]. 北京: 北京十月文艺出版社, 2012.
 [10] 赵劲鹰. 浮华世界凋零的玫瑰——菲茨杰拉德和张爱玲作品中的女性异化现象[J]. 文艺争鸣, 2012, (08): 131-134.
-[11] Frevert, Ute. 2016. The History of Emotions [G]∥Lisa F. Barrett et. Al. Handbook of Emotions(4th ed.). New York /London: The Guilford Press, 49-65．．
 [12] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.
 [13] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals[M]. Cambridge: CUP, 1999,
 I hereby guarantee that I have not used the help of AI to write my final paper in this course.

← Older revision		Revision as of 05:03, 31 December 2024
Line 237:		Line 237:

	5. 社交平台、媒体、直播、戏剧（现代与过去传统的碰撞）。		5. 社交平台、媒体、直播、戏剧（现代与过去传统的碰撞）。
		+
		+	'''参考文献：'''
		+	[1]贾颖妮. 魂归何处——论李碧华小说对女性命运的探讨[J]. 当代文坛, 2004, (03): 102-104.
		+	[2]林丹娅.女性话语的文学境遇[J].东南学术,2004,(01):132-140.
		+	[3]林奕含. 房思琪的初恋乐园[M]. 北京: 北京联合出版公司, 2018..
		+	[4]刘光宇,冬玲. 女性角色演变与中国妇女解放——中国现代女性文学的文化透视[J]. 山东师大学报(社会科学版), 2000, (02): 10-14.
		+	[5] 三毛. 雨季不再来[M]. 北京: 北京十月文艺出版社, 2009.
		+	[6] 王炳钧,王炎,汪民安,等. 空间、现代性与文化记忆[J]. 外国文学, 2006, (04): 76-87.
		+	[7] 王宁. 文化身份与中国文学批评话语的建构[J]. 甘肃社会科学, 2002, (01): 3-6.
		+	[8] 喻徳琴. 文本叙事角度下的《梦里花落知多少》[J]. 语文建设, 2017, (15): 33-34.
		+	[9] 张爱玲. 半生缘[M]. 北京: 北京十月文艺出版社, 2012.
		+	[10] 赵劲鹰. 浮华世界凋零的玫瑰——菲茨杰拉德和张爱玲作品中的女性异化现象[J]. 文艺争鸣, 2012, (08): 131-134.
		+	[11] Frevert, Ute. 2016. The History of Emotions [G]∥Lisa F. Barrett et. Al. Handbook of Emotions(4th ed.). New York /London: The Guilford Press, 49-65．．
		+	[12] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.
		+	[13] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals[M]. Cambridge: CUP, 1999,

	I hereby guarantee that I have not used the help of AI to write my final paper in this course.		I hereby guarantee that I have not used the help of AI to write my final paper in this course.

@@ Line 219: / Line 219: @@
 .看完本文后，你对於中国文化及女性文学发展有什么样的看法吗？
 .你是否认为中国女性文学对破除封建文化糟粕具有积极影响？
 .“宗法制”和“嫡长子继承制”是什么意思？
 .给本文中涉及到的女性作家打分的话，你每个会打几分？
 .对于以文学作品宣扬中华文化，你是否有不一样的见解？（可以谈谈具体措施）
 . 他们相互补充，并为彼此的共同发展做出贡献。
 . 当然。由于需要女性作家先行揭示（以文笔）残酷现实，我们必须破旧立新。
 . 这两个概念相同之处就是大房的长子一般能获得统治地位。
 . 不好意思，我觉得我还达不到能给她们打分的水平。
 . 社交平台、媒体、直播、戏剧（现代与过去传统的碰撞）。
 I hereby guarantee that I have not used the help of AI to write my final paper in this course.

@@ Line 191: / Line 191: @@
 '''2.四位女作家介绍及涉及文化要素'''
 具体内容详见下文。
 '''2.1 张爱玲——“天才传奇梦”'''
 张爱玲是20世纪中国最具影响力的女作家之一。而这一节将首要谈到“文化研究”与“文化身份”，后者依托后殖民理论析述，移用于前者中去（前者是一类理论话语），从文艺美学的层面来看，即为肯定研究主体“存在即合理”以及自身具备的美学价值；从文学研究的外延层面来看，是为语境式研究和文本式研究相结合的。“文化身份”诉诸包含文学和文化研究中的民族本质特征和带有民族印记的文化本质特征。该点在张爱玲的作品《半生缘》中亦有体现：彼时新思潮旧学识交织纷杂，封建意识盘踞不下，而西方思想已然侵染其中。故事的女主人翁——顾曼桢，其“文化身份”具有不确定性以及一定程度上的矛盾性。在思想上，顾曼桢经受“五四时代”精神洗礼，抗拒母亲自以为“义”的婚事（即与豫瑾——她姐姐的未成“初恋”同婚），坚守着“婚恋自由”“婚娶自主”的追求而选择沈世钧，在宗法人伦视角下传统母女关系的多重性表现中，该角色超越传统女儿形象建构；然而在后续的情节发展中，主人公的“文化身份”又显现出“矛盾”底色来，“自由”与“人伦”，是非“鱼与熊掌焉”？女主角毅然踏入与强奸犯的婚姻中，曲折妥协的“自戕”加深了悲惨的论调，“在人伦情感的掩护下,女儿对情感的追求就容易滑入宗法等级下的没有自我的深渊。张爱玲也正是借了这个人物，揭示了即使已有”德先生“”赛先生“旗帜高悬于青天之上，仍裹挟于传统宗法文化洪流中的女性文化发展的矛盾性。(Liu 2000, 12)
@@ Line 199: / Line 201: @@
 '''2.2 陈平（三毛）——“自由的灵魂”'''
 三毛，又名陈平，中国著名女作家。她一生追求自由，是独特生命的奇迹；她笔下走过的万水千山，是以给万千读者聊以生命的慰藉。当然，在她的《雨季不再来》一书中，也能察觉到部分中华文化元素的体现，包括其博爱且真挚的思想情感，这与墨家思想中的“兼爱”不谋而合，后者倡导无差别地爱一切人，不分亲疏贵贱，平等地关爱他人（从三毛其他地作品里也能看到三毛宽容、包容地心态是时常存在着的）。(Yu 2017, 33)
 '''2.3林奕含——“房思琪，拆开的每一个格子里都是失掉的乐园”'''
 林奕含，中国女作家，文风承接“张派”，雕词论调不走寻常路，乖拗的文字外壳下是一层焦冷捻湿的伤痛，风雨虽无飘荡，却也是漫山遍野的今天和琳琅。她的作品《房思琪的初恋乐园》通过讲述少女房思琪被补习班教师李国华长期诱奸一事，叩问情节背后隐藏的话语权问题。小说描写了在台湾社会男权文化治下的女性群像,指出男权文化正以其编造的道德惯例、正以文学和教养的名义潜移默化地规训女性。例如，书中的伊纹姐姐，即使受过了高等教育，寻得的夫家也是一介清流，仍要逼迫着生贵子（中国传统思想，女人仍旧是生育工具，所承诺的只有大着的肚子和必须生下的男胎）；思琪受到的侮辱，给传统观念（即使完全不是受害者的错）下拧成了一坨烂肉（糜烂的罪孽被巧言令色地嫁祸给了受害者）。 (Wang 2002, 4)
 '''2.4 李碧华——“人鬼情未了”'''
 李碧华，中国作家，笔风辛辣，文力凄艳悲凉，情节诡谲丛生，鬼魅无影。她的作品《饺子》中虽内容诡丽阴冷，情感黏滞，但极有特色地将港澳及广东地区的食物作“诱引”，一步步将读者“骗”到情感高潮处，待醒悟已是浑然困宥于其中矣。虾饺、蛋挞、卤水鸭、燕窝糕，这些具有中国地区特色的美食，既成为了情节的依托，也作为了文化的载体。(Jia 2004, 103)
 '''3.结语'''
 “文学”与“文化”，虽只有一字之差，但都反映了时代下的精华。文中介绍的四位女作家，虽文风有所不同，但都不同程度地反映了中华文化范围内女性主义批评思潮与理论话语启蒙，而这一进程虽仍在行进之中，但也形成一定态势。当然，我们更能看到在语境变迭发展下，在女性主义文学发展下的中华文化内涵发生了新的变化，也能看到女性文人追求性别解放、争取平等自由的诠释。丘吉尔说过：“不伴随力量的文化，到明天将成为灭绝的文化。”，或许，文化不必在于传统话语之“重”，只是，不能再踩踏在无辜的血肉冤魂之上，高喊“生命不能承受之轻”。(Lin 2004, 139)

@@ Line 98: / Line 98: @@
 The specifics will be given below.
-'''2.1 Zhang Ailing(张爱玲)--A Dream of Genius and Legend(''Dream of Genius''(《天才梦》) is also one of her literary work'''
+'''2.1 Zhang Ailing(张爱玲)--A Dream of Genius and Legend(''Dream of Genius''(《天才梦》) is also one of her literary work)'''
 Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)
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 . Social platform, media, live-streaming, drama(the collision between the modern times and the past traditions).
-References:
+'''References:'''