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陈染《私人生活》中的倪拗拗和勃朗特《简·爱》中的简·爱形象特质有同有异。她们都是当时时代的另类个体,却拥有不同的生命过程,走向了不同的结局。《私人生活》和《简·爱》中都大量提及了“房间”这个意象,我们也正是通过这个意象来探讨倪拗拗和简·爱的孤独与女性意识。我们可以发现,简在追寻的路程中渐渐消除孤独。倪拗拗在人生的开头是不那么孤独的,但她却越来越孤独,并学会在疼痛中享受孤独。简捍卫自由平等和尊严,是女性意识的萌芽,而倪拗拗则是反抗男权、控诉社会,是当代女性意识的具化。
Chen Nai’s Ni Tuoya in Private Life is different from Jane Eyre in Bronte’s Jane Eyre. All of them were alternative individuals at that time, but they had different life processes and went to different ending. In “private life” and “Jane Eyre”, there is a great deal of reference to the image of “room”, and it is through this image that we explore the loneliness and femininity of Ni Tiaohe and Jane Eyre. We can see Jane gradually eliminating loneliness as he pursues it. Ni bent in the beginning of life is not so lonely, but she is more and more lonely, and learn to enjoy loneliness in pain. Jane defends the equality of freedom and dignity, is the budding of the female consciousness, and Ni Toutao is the resistance to the patriarchal, the prosecution of society, is the contemporary female consciousness of the change.