User:Liao Wenyao

My name is Liao Wenyao and I love eating fruits. I used to be a student and I am still a student for now. I major in English interpretation now and the official name for my master degree is Master of Translation and Interpretation. The college that I get enrolled in is Hunan Normal University. I have no pets and am not allergic to anything. I love playing badminton but I haven’t played it for quite a loooooong time. I might have obsessive-compulsive disorder and we all wish we can make great academic achievement and may the world in peace. See it, say it, sorted.

Tips: From November 10th to December 5th, I learned the lyrics of a song by one line per day, and then I asked AI for the grammar, vocabularies, translation and the pronunciation of them.

2024.11.10 I learned with AI for "J'ai touché l'enfance de mes doigts encore feutrés（中文：我用湿漉漉的手指触摸了童年）"

2024.11.11 I learned with AI for "Ressassé cette histoire comme si je l'avais recontrée（中文：重讲这个故事，就好像我又碰到她了一样）"

2024.11.12 I learned with the help of AI for "La vraie belle nouveauté c'est celle qui ne vieillit pas（中文：真正美丽的新奇玩意儿永不过时）"

2024.11.13 I learned with the help of AI for "Celle qui nous garde les ciels pastels l'orage quand il fait froid（中文：当凛冽的暴风雨来临时，让我们保留柔软的天空）"

2024.11.14 I learned with the help of AI for "Je laisse aux autres les demain（中文：把明天留给别人）"

2024.11.15 I learned with the help of AI for "Moi je prends que les maintenant（中文：我只想珍惜当下）"

2024.11.16 I learned with the help of AI for "Si c'est pou penser la fin（中文：若要考虑未来的结局）"

2024.11.17 I learned with the help of AI for "Compte sur mes rêves d'enfant（中文：那就让我仰赖童年的梦想）"

2024.11.18 I learned with the help of AI for "Petite je fuis le tempts déja peur des convenances（中文：小时候，时间给我逃了脱，已然使我害怕礼节）"

2024.11.19 I learned with the help of AI for "Et la vraie étoffe des gens c'est fou tout ce qui'ils pensent（中文：而人们所有的真实，他们想的一切都是疯狂的）"

2024.11.20 I learned through AI for "C'est triste toute cette méfiance faudrait suivre l'aivon en papier（中文：可悲啊，所有这些猜疑，应该跟着纸飞机走）"

2024.11.21 I learned through AI for "Hurler pour s'envoler surtout quand on pense au passé（中文：尖叫着飞翔着，尤其是当你想回到过去时）"

2024.11.22 I learned through AI for "J'regrette mon adolescence（中文：我后悔我的青春期）"

2024.11.23 I learned through AI for "Et pourtant c'est pas fini（中文：但它还没有结束）"

2024.11.24 I learned through AI for "Quand t'es petit y'a la méfiance（中文：当你还小，就会对别人猜猜点点的)"

2024.11.25 I learned through AI for "Puis après vient le mépris（中文：然后又轻蔑）"

2024.11.26 I learned through AI for "Y'a des jours ou ca va mal（中文：有时候事情总不对）"

2024.11.27 I learned through AI for "C'est que t'oublies quand ca va bien（中文：只要你什么时候好就忘了）"

2024.11.28 I learned thorugh AI for "Les adultes ils crient ils ralent（中文：大人们又叫又哭的）”

2024.11.29 I learned through AI for “Disent des choses qui servant à rien （中文：说些没用的话）”

2024.11.30 I learned through Ai for “Tu passe ta vie dans le passé（中文：人的一生都在进行过去时）

2024.12.1 I learned the “Et pourtant c'est pas si beau（中文：但并不总那么美丽）”

2024.12.2 I learned the “Tu te souviens des jours usés ?（中文：你还记得过去的日子吗？）” with AI

2024.12.3 I learned the “Des mois de mai, des batailles d'eau（中文：五月的水战）” with AI

2024.12.4 I learned the “Faut s'y faire t'es juste grand（中文：你得习惯，只不过是个子比别人高了一些而已）”and “Y'en aura pleins tu verras（中文：会有很多你能看到的）” with AI

2024.12.5 I learned the “Des belles choses, des bons moments（中文：美好的事物啊美好的时光）” and “Des belles choses, des bons moments（中文：当一切结束，你又会后悔）” with AI

Note: I decide to learn something else~'I would like to learn a French poem with the magical assistance of AI(the poem is called Pour Demian).

2024.12.6 I learned the "Vous que le printemps opéra(奇迹春天唾手而成魔术)" with AI;

2024.12.7 I learned the "Miracles ponctuez ma stance(请替我的诗章断句分行)" with AI;

2024.12.8 I learned the "Mon esprit épris du départz(我的迷恋于出走的思想)" with AI;

2024.12.9 I learned the "Dans un rayon soudain se perd(陡然间消失于一线光亮)" with AI;

2024.12.10 I learned the "Perpétué par la cadence(又由光的节奏频频延续)" with AI;

2024.12.11 I learned the "La Seine au soleil d'avril danse(塞纳河荡漾于四月艳阳)" with AI;

2024.12.12 I learned the "Comme Cécile au premier bal(像塞西尔首次翩然领舞)" with AI;

2024.12.13 I learned the "Ou plutôt roule des pépites(又似卷拂起细密的金砾)" with AI;

2024.12.14 I learned the "Vers les ponts de pierre ou les cribles(涌向那道道石桥或筛网)" with AI;

2024.12.15 I learned the "Charme sûr La ville est le val(耐看的幻美城池化溪谷)" with AI;

2024.12.16 With the help of AI, I learned the "Les quais gais comme en carnaval(左右堤岸节日般狂欢)" .

2024.12.17 With the help of AI, I learned the "Vont au devant de la lumière(一起拥戴那光明远去)".

2024.12.18 With the help of AI, I learned the "Elle visite les palais(她驾临的重重宫殿)".

2024.12.19 With the help of AI, I learned the "Et les roses du jour aux vitres(和窗扇掩映的盛开玫瑰)".

                                 Female Writers: Zhang Ailing, Chen Ping(Sanmao), Lin Yihan and Li Bihua

                                                      Written by Liao Wenyao(Rose)

1. Introduction

Literature is closely related to culture. In the first place, the nature of literary works lies in its capacity to convey the unique essence of certain culture through specific plots. It could also capture the complexities of human experiences shaped by transcendental concepts of time and space in the context of modernity transformation with the usage of language as the vehicle. "Modernity is a culture over time", as the timeline lengthens and the space witnesses continuous dilation from the sheer perspective of physics, an intricate self inherited from the previous existence and spiritual detachment becomes intertwined with the culture as well as history and religious notions that have been portrayed. On the other side of the coin, culture always has a profound impact on the production and development of literary works. The cultural setting would often influence the expansion of the cultural world and the retrospective prospect of individual episodes. From ancient civilizations to modern times, the female literary tradition in China has deep historical roots. Female literature that heralds women's efforts to strive for deserved status notes slow progress and the state of fragility. And female writers, as other male writers, delve into the most speculative and enigmatic appreciation of Chinese culture, unravel evolving understanding of human nature. Therefore, women's engagement in literature production and their own discourse system could reflect female literary criticism culture in different periods. Those endeavors mirrors the impenetrable requirements of women's pursuit of self-discovery and gender equality that has been regarded as the ideological trend culture in the given era. The rumination also served as an integral part of Chinese culture. In the following text, four female writers and the involved cultural components and connotations will be introduced. The discussion of the elements of Chinese culture would be manifested in female literary works. (Wang 2006, 78)

2. Four Female Writers and the Involved Chinese Culture

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)

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)

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)

2.3 Lin Yihan--Fang Siqi, Paradise Lost hidden in Each Ripped Square Sheets

Lin Yihan, a Chinese female writer, inherits the writing style of Zhang Ailing and employs differentiated methods to render unusual sentiment. The inanimated language use framing individual trama boldly conceals agonizing excruciation, wind and rain leaves no trace but the massive edification. Her work Fang Siqi's First Love Paradise(《房思琪的初恋乐园》) tells the story of a girl named Fang Siqi being seduced for a long time by Li Guohua who was a teacher of a private school. The work makes inquiries for women’s right of speech. It describes the female image fallen in line with the patriarchal culture in Taiwan, pointing out that the patriarchal culture is subtly disciplining women in the name of literature and education by its fabricated moral conventions. For example, the elder sister Yi Wen, though highly educated with enjoyment of intellectual pursuit, found her husband's family which was of the same descent as hers still forced her to bring them a son (in traditional Chinese thinking. Women are still fertility tools and believed to bore “promising” pregnancy with a definite son); The insult that Siqi received turned the traditional concept (even if it was not the victim's fault at all) into a piece of "rotten meat" (the crime of erosion was cleverly attributed to the victim). (Wang 2002, 4)

2.4 Li Bihua--Ghost(Unchained Empathy)

Li Bihua, a Chinese writer, treats challenging materials with grace and poignancy, luxuriating in her own eccentric wording, twisted plot, evocative emotions. Although the content of her work Dumplings(《饺子》)is quirky and daring with novelettish feelings, it is a distinctive literary "step" to use the food of Hong Kong, Macao and Guangdong as the bait to "trick" the reader to the emotional climax. When the readers understand the truth, they are already trapped in it. Shrimp dumplings, egg tarts, marinated duck, Chinese bird's nest cake, these delicacies with Chinese regional characteristics symbolize not only the basis of the plot but also the carrier of culture. (Jia 2004, 103)

3. Summary

Despite only one different Chinese character("literature" stands for "文学" and "culture" refers to "文化"), "literature" and "culture" encapsulates the zeitgeist of different eras. Feminist criticism and theoretical discourse enlightenment in the scope of Chinese culture to varying degrees can be gleaned from the four female writers with their particularized narratives introduced in this article, which could facilitate related progress. Besides, we surely could witness the renewed transformation in the connotation of Chinese culture adapting to the ongoing advance of feminist literature. It could also be certified that the interpretation of female writers pursue gender liberation as well as equality and freedom. Winston Churchill once said, "A culture that does not accompany its strength may face cultural extinction." Perhaps culture itself does not have to incorporate into the traditional discourse. However, it could not be built upon the cornerstone of the innocent and blameless lives while there would be someone shouting "the unbearable lightness of being". (Lin 2004, 139)

Terms and Expressions:

Dream of Genius 《天才梦》

Half of Lifelong Romance 《半生缘》

May Fourth Movement 五四运动

Patriarchal clan system(the feudal clan system) 宗法制

Patriarchal chiefs system 嫡长子继承制

patriarchal culture 父权文化

the Son of Heaven 天子

concubine 妾；姨太太

The Rainy Season Will Never Come 《雨季不再来》

Universal love 兼爱

Mohism 墨家思想

Fang Siqi's First Love Paradise 《房思琪的初恋乐园》

Dumplings (饺子》

Shrimp dumplings 虾饺

egg tarts 蛋挞

marinated duck 卤水鸭

Chinese bird's nest cake 燕窝糕

Questions:

1. After reading this article, what's your personal view on the development of Chinese culture and women's literature?

2. Do you think Chinese female literature has a positive impact on breaking down the dregs of feudal culture(the negative effect not the positive ones)?

3. What do "patriarchal clan system" and "patriarchal chiefs system" have in common?

4. How would you rate each of the female writers featured in this article?

5. Do you have different thoughts on promoting Chinese culture through literary works? (creative measures are largely welcomes!)

Answers:

1. They could supplement each other with the parts of significance and they could contribute to the common development of each other.

2. Yes sure it is. As there exists the underlying need for women writers to foster pacesetters in terms of illuminating the harsh reality, we need to know what should be put in place once the obsolete ones face their time.

3. The two concepts share the same matrix of "the eldest male 'brought' by the legally married wife(also the eldest) could be rewarded with dominance.

4. No, I'm afraid I would not rate each of them as I'm not qualified to do that. So sorry.

5. Social platform, media, live-streaming, drama(the collision between the modern times and the past traditions).

References:

[1] 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．

[2] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.

[3] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals [M]. Cambridge: CUP, 1999,

Note: The references below are of actual Chinese version in the origins(the original Chinese references are given in the last part) and I translated them for your better appreciation. Thank you very much.

[4] YN Jia. Where the soul drifts towards: a discussion on the fate of women in Li Bihua's novels [J]. Contemporary Literature Research, 2004, (03): 102-104.

[5] DY Lin. The literary situation of female discourse [J]. Southeast Academic, 2004,(01):132-140.

[6] YH Lin. Fang Siqi’s first love paradise. [M]. Beijing: Beijing United Publishing Co, Ltd, 2018.

[7] Liu Guangyu, Dong Ling. Evolution of female roles and Chinese women's Liberation: a cultural perspective of modern Chinese feminine literature [J]. Journal of Shandong Normal University (Social Science Edition), 2000, (02): 10-14.

[8] Sanmao. The rainy season will never come [M]. Beijing: Beijing October Art & Literature Publishing, 2009.

[9] Wang Bingjun, Wang Yan, Wang Min 'an, et al. Space, modernity and cultural memory [J]. Foreign Literature, 2006, (04): 76-87.

[10] Wang Ning. Cultural identity and Chinese Literary Critical Discourse [J]. Gansu Social Sciences, 2002, (01): 3-6.

[11] DQ Yu. Another work of Sanmao from the perspective of text narrative [J]. Chinese Research, 2017, (15): 33-34.

[12] AL Zhang. Half of lifelong romance [M]. Beijing: Beijing October Art & Literature Publishing, 2012.

[13] JY Zhao. The fading rose in the vanity world: the phenomenon of female alienation in the works of Fitzgerald and Zhang Ailing [J]. Literary Debate, 2012, (08): 131-134.

                                                   女性作家专题：张爱玲、陈平（三毛）、林奕含及李碧华

                                                                          廖文垚

1.引言

文学作品与文化有着密不可分的关系，一方面，文学作品的本质在于其或通过特定的情节传递出文化特质，或使用语言符号作为载体呈现出人类在现代性变革中的复杂时空感知，而“现代性是一种关于时间的文化”，伴随着物理层面上时间轴的延长，空间场所的不断扩张，一种继生于存在体验、精神超脱的复杂织体与描述到的文化历史、宗教观念相有关联。另一方面，文化必会影响文学作品的撰写与发展，设置特定的“文化景观”，而影响文化世界的展开以及个人体验形式的回溯展望。以古贯今，中国女性文学历史渊源极深，发展长路漫漫，女性作家跃然而起，与男性作家一样，挥笔毫墨间，钻仰中华文化之渊秘，涣尔书陈底蕴之冰开。女性介入历史性书写，建构自身话语体系，能够体现出不同时期中国女性文学文本批评文化，更有适时女性于挣扎中寻找自我、追求新时代性别平等思潮文化的复杂要求，这也是中国文化的组成部分，而接下来，笔者会介绍四位女性作家以及其中的文化元素和内涵，进而研讨女性文学作品中彰显的中国文化要素。(Wang 2006, 78)

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)

正如前文所述，作品的历史背景展现的是一个既无法摆脱虬扎良久的过往固有规制体系，又无法根彻地“胎生”出一套现代文明的社会体制的“光怪陆离”的时代；在张爱玲的《半生缘》这部作品中，传统的“宗法人伦”观念文化得以窥见。“宗法制”，“嫡长子继承制”则是“缘”中的关键词：“嫡长子继承制”是指古代统治者实行一夫多妻制，多妻中有一个正妻，即“嫡”，其子为嫡子；其他妻子为”庶“，其子为庶子。按照周制，最高统治者称为天子，统治天下的土地和臣民，继承王位的，也必须是嫡长子，至于贤良与否，并不作考究。在《半生缘》这部作品中，沈啸桐为权力的下发人，上位者；书中只写了两位地位相当的夫人——正房沈夫人以及“二房”“鼓楼那个”；故事的男主人翁是大房沈夫人的儿子，年纪是在社会上初闯荡着的。如此一来，在文中就有描述，在沈啸桐病重时，急召沈世钧返家，并正因世钧是正房所出——归属于“嫡长子”范畴，便将“倚靠”托给了世钧，这样的情节并也凸显出“嫡长子继承制”在文化中之根基久深来。(Zhao 2012, 132)

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)

问答中文原文：

1.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？

2.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？

3.“宗法制”和“嫡长子继承制”是什么意思？

4.给本文中涉及到的女性作家打分的话，你每个会打几分？

5.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）

1. 他们相互补充，并为彼此的共同发展做出贡献。

2. 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。

3. 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。

4. 不好意思，我觉得我还达不到能给她们打分的水平。

5. 社交平台、媒体、直播、戏剧（现代与过去传统的碰撞）。

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[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.

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[12] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.

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