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颜一烟、赵玫、叶广芩三位满族女作家都出自满族名门,有着曾经显赫一时的家族背景,她们凭借民族历史熏陶、丰富的家族记忆和特有的女性视角,在不同的历史时期介入纷繁复杂的家族史叙述,描绘出一幅以女性主体抗争与承受为主要色调的、反映满族贵族家庭兴衰变迁的历史画卷。在具有浓烈宿命意味的叙述中,作为社会外在力量形式存在的家庭与女性内心自我身份认定的冲动二者纠结反复,迸发出瑰丽的精神火花,叛离青年的冷峻与依恋,苦难女性的无望与希冀,写作者情理悖论式的纠葛,在作品中形成了自我诘问的复杂层次,充满了明朗化主题所不具备的内涵张力。这三位满族女性的家族史书写,为我们研究当代女性主体性确立的艰难历程提供了典型的范本和视角。
Yan Yi, Zhao Mei and Ye Guangqin, three Manchu women writers from the Manchu family, have had a prominent family background, by virtue of their national history, rich family memories and unique female perspective, in different historical periods involved in the complex Family history narration, depicts a picture of the main theme of the struggle and tolerance of female subjects, reflects the vicissitudes of the rise and fall of the aristocratic family history of the vicissitudes of life. In narratives with strong fate, both the impulse of the family and the inner self-identity of women as the form of social external force are tangled up repeatedly, sparking a splendid spiritual spark, betraying the solemnity and attachment of youth, the hopelessness of suffering women Hope, the author paradoxical paradoxical disputes, in the formation of a complex level of self-questioning, full of clear themes that are not equipped with the content tension. The family history writing of these three Manchu women provided typical models and perspectives for us to study the difficult course established by contemporary women’s subjectivity.