西方女性主义文学理论综述
- 格式:pdf
- 大小:105.29 KB
- 文档页数:3
女性主义一.女性主义的缘起1.女性主义与女权主义在feminism一词中包含有“女性”与“女权”的双重含义,故又译“女权主义”,随着近现代以争取妇女参政和男女平权的妇女运动而兴起的思想潮流。
(王先霈:637)朱刚认为,学术界一度把“feminism”翻译为“女权主义”,这个译法值得商榷。
欧美学术界通常用“feminism”泛指一切争取、维护女性权益的活动,其历史跨度延绵数百年,内容非常庞杂,极难准确定义。
而中文的“女权”的含义则比较明确,指历史上女性为了获得自身“权益”而进行的努力,其目标明确,颇有声势,涌现过不少知名的女权活动家和积极分子。
确切地说,女权主义真正兴起于19世纪的欧美,也称“妇女解放运动”,二十世纪初随着女性权益的逐渐实现,女权运动也基本完成了使命。
从二十世纪六十年代开始的“feminism”要求的已经不是传统的女性权益。
因此,二十世纪初之前的feminism可以成为女权主义,之后则可称为女性主义,女权主义是女性主义的先驱。
(朱刚:336)2.父权时代的妇女处境在旧石器时代,男女皆以采集植物和狩猎为生。
由于女性十分珍贵及在生育中所承担的角色,且由于男性尚未意识到自己的性自尊,妇女地位较高,崇拜“母神”的现象较为普遍,这从大量出土的石器时代的女性小雕像可见一斑。
虽然纯粹的“母权制”在那一时期是否存在尚有不少争议,但可以肯定,女性的地位还是比较高的,这可找到大量的考古学的证据、生物学的证据、心理学的证据、人类学的证据以及用希腊语、罗马字及希伯来语等记载的诗歌、神话等“书写的证据”。
到公元前五千年至前三千年,由于频繁的战争、金属及交通工具的运用,男人在生产中的作用越来越重要,也由于人口增多、粮食积累、劳动分工及畜牧业的出现而导致奴隶制的发展,妇女在社会中的地位日渐衰落,男人对女人的统治与控制的父权社会逐渐形成。
(林树明:7-8)父权制社会的发展摧毁了女性不可复得的伊甸园,并将女性压入社会的底层。
女性主义文学批评的理论与实践一、介绍女性主义文学批评是一种重要的文学理论和批评方法,旨在揭示和分析文学作品中涉及到性别、权力和社会阶层问题的方面。
本文将探讨女性主义文学批评的背景、理论基础以及实践案例。
二、女性主义文学批评的背景女性主义文学批评起源于20世纪上半叶,其诞生是对传统文学理论中忽视女性经验和存在的回应。
历史上,女性在文化创作和评论中往往被边缘化或忽视,因此女性主义文学批评成为关注社会制约因素对书写自我的影响的一个重要方法。
三、女性主义文学批评的理论基础1.性别角色与建构:女性主义文学批评认为社会按照特定规范创造了男性和女性之间的差异,并将之灌输给个体。
这种角色建构对于我们如何感知和书写世界有着深远影响。
2.女性身体政治:该领域关注妇女和女性身体的权力关系,包括生殖权利、性别压迫和身体解放等议题。
女性主义文学批评试图揭示这些议题在文学作品中的呈现方式。
3.叙事与写作实践:女性主义文学批评研究妇女在写作过程中所遭受的压力和限制,以及她们如何通过文字表达自我,并寻求社会地位的改变。
四、女性主义文学批评的实践案例1.弗吉尼亚·伍尔芙(Virginia Woolf):伍尔芙是20世纪重要的女性作家之一,她以其小说《到灯塔》等作品进行了对传统文学观念的挑战,并探索了妇女身份和自由意志的问题。
2.西蒙·德·波伏娃(Simone de Beauvoir):波伏娃以其巨著《第二性》为基础,阐述了妇女在社会中的处境,并对男权社会进行了深入分析。
3.贝拉·阿布祖格(Bell Hooks):阿布祖格是一位知名的黑人女性主义者,在她的著作中探讨了性别、种族和阶级之间的交叉关系,以及它们如何影响文学创作和传播。
五、结论女性主义文学批评通过对女性经验和存在的关注,为我们解读文学作品提供了新的视角。
它让我们更加深入地理解社会与文学之间复杂的联系,并帮助我们思考如何推动性别平等和社会进步。
德国女性主义文学批评理论浅析---引言德国女性主义文学批评是一门研究女性主义文学理论和实践的学科领域。
本文旨在对德国女性主义文学批评理论进行浅析,介绍其发展历程、核心观点和对文学批评的影响。
发展历程德国女性主义文学批评起源于上世纪70年代的女性解放运动。
在这个背景下,女性主义理论开始关注女性在文学中的定位和表达。
在早期,德国女性主义文学批评主要通过挖掘文学作品中的女性形象和女性化语言来探索文学对女性的表达和塑造。
随着时间的推移,德国女性主义文学批评理论逐渐发展成为一门独立的学科,涉及的内容也逐渐扩展到性别、权力、身份等方面。
核心观点德国女性主义文学批评理论的核心观点包括以下几个方面:1. 反抗传统的男性中心视角:德国女性主义文学批评坚持批判传统文学中男性中心的视角,呼吁重视女性的审美经验和视角,以女性的观点来理解和分析文学作品。
反抗传统的男性中心视角:德国女性主义文学批评坚持批判传统文学中男性中心的视角,呼吁重视女性的审美经验和视角,以女性的观点来理解和分析文学作品。
2. 揭示性别霸权的存在:德国女性主义文学批评理论强调文学作品中存在的性别霸权,通过对作品中的角色关系、权力结构和语言表达的分析,揭示社会对于女性的压迫和歧视。
揭示性别霸权的存在:德国女性主义文学批评理论强调文学作品中存在的性别霸权,通过对作品中的角色关系、权力结构和语言表达的分析,揭示社会对于女性的压迫和歧视。
3. 关注女性创作和女性文学:德国女性主义文学批评理论重视女性的创作和女性文学的发展,推动女性在文学领域的存在和发展,倡导女性写作和女性审美的独特性。
关注女性创作和女性文学:德国女性主义文学批评理论重视女性的创作和女性文学的发展,推动女性在文学领域的存在和发展,倡导女性写作和女性审美的独特性。
4. 关注身份和多元性:德国女性主义文学批评理论强调文学作品中的身份和多元性问题,关注种族、阶级、性取向等方面的差异和冲突,通过对不同身份的女性作家和作品的研究,拓展了对女性文学的理解和批评。
婚妈妈,生下了张恒的孩子,然而却能和张恒在大街上面对面碰上脸色不变形同路人,不由让人惊奇这场感情的无趣。
《云影共徘徊》里的韩宁,信仰日高风清的心境,三十多岁,与妹妹都独居在家。
她对张仰陵的感情肯定不是爱,如果是爱,那也是非常残忍的。
她们不知道她们要做什么,总在怀疑是不是一生的反反复复注定要如此了结。
现代都市女子从感情上折磨自己,因为反差太大,已经连伤痛都不会。
以为刻薄自己就是刻薄别人,难道非要把自己推上人生战场才能证明是打赢了吗都市女性接受新思想新文化的熏陶,一直渴望能做真正的自己———独立的不依赖别人的。
然而中国传统的文化思想和性格特征又在影响着她们,使她们很难以超越出自己。
人生的悲欢离合,文化冲突使她们心理失重,使感情变得千疮百孔,不甘心做男人的附属,只是想扮演自己,是具有女性意识和女性自我价值的新都市女性形象,不愿沦入传统的束缚,是章惜、觉非、少庄、韩宁等一批都市女性的反抗,但是她们仍然都面临感情的困扰,这就使她们在抗拒的过程中更加显出了无奈和冷漠,文化思想和精神上的冲突也表现在她们身上,她们是最后的胜利吗,是不是还有不同的表现?唐宁———她喜欢那样的世界,有喜怒哀乐,悲欢离合,阴晴起伏,愿意头破血流,即使以她看不起的手法。
少庄———眼前的都市繁华,像一个人蓦然回首,只看到喧杂,回想起来,多么无趣。
用章惜的话说:不要太迷信自己的感觉和想法,那是随时会变的,也许,人类的孤独感永远不会变。
但是,带了这么一颗自喜的心去活着,不也很好吗?由上可见,苏伟贞的人物“专心”对付着情天欲海的种种险恶,却无怨无悔。
情到深处人寂寞,此时无声胜有声。
情场如战场,苏伟贞笔下的男男女女情感角色,就像跋涉在行军途中的战士,沉默里叫喊着喧哗,寂静里埋伏着激情,以此形成了台北都市奇特的千疮百孔的情爱景观。
真的应了那句话:哪一种爱不千疮百孔?十年过去了,二十年过去了,都市男女依旧游离在城市边缘,情感边缘,渐渐失重,渐渐模糊,不知不觉间也做了感情的边缘人。
女性主义文学批评基本概念双性同体(Androgyny )p205 又译为“雌雄同体”,英文源于希腊语,将希腊语中“男性”(andro )和女性(gyny )融合在一起构成的新词。
拥护者:伍尔夫把这个词引入女性主义批评的语境,在《一间自己的屋子》中提出了双性同体的思想。
在她看来,双性同体是艺术创作的一种最佳状态。
她在《奥兰多传》中进一步阐发了双性同体的创作理想。
其他相关作品:玛丽埃尔曼《考虑妇女》卡洛琳海布尔伦《走向承认双性同体》反对者:实际上是一种性别的固化,否认了由社会性别体制造成的历史差异和冲突,也忽视了政治斗争的重要性以及社会和文化方面的不平等,结果是以双性的假象掩盖了以男权为中心的文化策略。
伊莱恩肖瓦尔特《她们自己的文学》:双性同体是一种不现实的东西,是对女性气质和独特的女性经验的压抑。
同歧视妇女的偏见抗争的方式,不是要否认性别差异,而是要消灭性别的等级制度。
权威authority p206 指文学艺术工作者进行文学创作的权威性。
权威不仅是权利,还指文学艺术工作者的能力、者的能力、控制力。
控制力。
Harold Bloom 认为在诗歌创作中,认为在诗歌创作中,年轻的诗人常常无意识地年轻的诗人常常无意识地受到父辈的影响,只有走出父辈的影响才能获得创作的自由,即诗人不可避免地试图变成权威或取代权威。
西方女性主义认为,女性在权威问题上面临一个困境:主流父权话语认为权威不仅源于父辈,而且父权的文学艺术传统是女性创作的唯一来源,而权威又是建立在父权的传统上的。
同时,在父权传统中,妇女总是处于从属于男性的地位。
Jane Spencer 认为,女性创作的权威是18世纪文学艺术界关注的一个重要问题。
女性即使被排除在权利结构之外,她们仍然能够形式权威。
因为女性可以用她们的母亲想象和各种美德来赋予自己文学艺术创作的权威性。
自传Autobiography 女性自传的新的研究方法:个人文学批评、跨文学类型批评、新主题意识批评、叙述批评等文学批评理论。
BI YE LUN WEN(20_ _届)英语伍尔夫《一间自己的房间》的女性主义解读A Feminism Reading of Virgina Woof’s ARoom of One’s Own内容摘要弗吉尼亚·伍尔夫是20世纪文坛上的一名杰出的女作家,她被尊为意识流小说的鼻祖之一,与乔伊斯、福克纳等意识流小说大师齐名。
同时,她又被尊为西方当代女性主义的“母亲”,她认为女性应该在经济上和精神上独立,并拥有自己的生活空间和精神空间。
此外,还要勇于表达自我的真实想法。
她认为女性主义的最终目的是消解两性之间的对立,以达到两者的和谐状态。
因此,她在《一间自己的房间》中提出了“双性同体”理论。
本文试图从女性主义角度解读《一间自己的屋子》,分析伍尔夫的女性主义思想,以期更好的理解文学中的女性主义。
伍尔夫的女性主义思想在21世纪的今天仍有极强的思考意义。
关键字:弗吉尼亚·伍尔夫;独立;空间;双性同体;女性主义AbstractVirginia Woolf is an outstanding woman novelist in 20th century. She has been regarded as one of the representatives of the stream of consciousness, enjoying equal popularity with Joyce and Faulkner. Meanwhile, she is regarded as the mother of modern feminism in the west. She thinks that females should be financially and spiritually independent and have their own living space and spiritual space. In addition, women also need to express themselves bravely and sincerely. She considers the final goal of feminism is to dispel the opposition between males and females and to reach a harmonious state. Therefore, she proposes the theory of androgyny in A Room of One's Own. This thesis tries to discuss A Room of One's Own from the angle of feminism, and analyze Woolf's feminism so as to seek a broader understanding of feminism literature in general. Studying Woolf still has a profound meaning in 21st century.Key words:Virginia Woolf; independence; space; androgyny; feminismContentsAbstract (ii)1 Introduction (4)2 What’s feminism (5)2.1 The etymology of the term "feminism" (6)2.2 T he definition of the term “feminism” (6)2.3 Virginia's concepts of feminism (7)3 Virginia’s feminist idea in A Room of One’s Own (7)3.1 Economic independence (8)3.2 Having a room of one's own (10)3.2.1 Living space (10)3.2.2 Spiritual space (11)3.3 Establishing female's value (11)3.4 The pursuit of androgyny (11)4 Factors leading to Virginia’s feminist view (14)4.1 Her parents’s influence (14)4.2 The Bloomsbury Group’s influence (16)4.3 Sexual Assault by her brothers (17)4.4 The Industri al Revolution and the Women’s Right Movement (17)5 Conclusion (18)Bibliography (47)Acknowledgements (18)1 IntroductionVirginia Woolf (1882-1941), is a famous woman novelist in the 20th century and she is one of the important modernist novelists. Meanwhile, she is one of the representatives of the stream of consciousness, enjoying equal popularity with Joyce and Faulkner. What's more, she is regarded as the mother of modern feminism in the west.Literary criticism of Virginia Woolf has proliferated since the1980s. Some critics appraise her works and some appraise her person; some analyze her work’s consciousness, and some analyze her feminism; some study her works from ethics, some from aesthetics, some from homosexuality, some from psychology. She is not only a great writer, but also a "forerunner, indeed the 'mother' of the contemporary Anglo-American feminism” as Zhu Gang describes. (Z hu Gang 2006: 342) As for her feminism, some criticize her feminism as an extreme type for they think her represented idea of feminism—androgyny means she intends to replace male value with female value; some criticize her deviating the feminism for they think she couldn't bear her own female identity, so she had to give up to the patriarchal society and swamped in the mud of utopian thought of androgyny; while the others praise it highly for it is an advancement in the stage of feminism's development.Xu Wei analyzes Woolf's feminism, both as a theoretical analysis of gender inequality and oppression, and as a political movement. Her paper analyzes that Woolf how to analyze the question of "women writing" in the theory and how to practice it in her writing. Woolf is concerned with the nature of womanhood. The focus on women characters in Woolf's fiction is central to much early feminist criticism, as well as non- or anti-feminist criticism. To an extent, "anger" and "androgyny" are the two terms most central to feminist debates on Woolf. Their centrality serves to further increase the importance of A Room of One's Own as the key text of Woolf's feminism and feminism's Woolf, for it is here that "anger" and "androgyny" are most fully discussed. And A Room of One's Own is seen by many critics to subdue and repress women's anger in favor of a more serene gender—transcendent or androgynous creativity. (Xu Wei, 2004: 38-39) Wu Qinghong tries to analyze, to show and to criticize Virginia's feminism in the development of western feminism. And she indeed did it, comprehensively andintensively. Her main viewpoint is that Virginia Woolf is the most important representative person in the history of feminism's development. Woolf's analysis on feminism corrected the shortage of feminism in 1890s to 1990s, which emphasized the equality between men and women on law. What's more, her feminism inspired the new feminist in 1960s and 1970s to deconstruct male's political and cultural supremacy and establish female's visual angle, which predicted the development direction of post-feminism in 1990s. (Wu Qinghong, 2005: 5) Ma Tingting draws a conclusion that Woolf's feminism is not a panacea for all women, but an occidental one with intense tendency of racialism.(Ma Tingting, 2006: i-ii) Wu Haixia probes the unique feminist thoughts of Virginia Woolf, which she thinks are quite different from most of the other feminists. It is clearly that since the appearance of feminism, the oppositions between men and women have been highlighted, and feminism is related to the marginalization of all women, with their being relegated to a secondary position. Most feminists hold their views that the social culture is a patriarchal culture. Woolf realizes that women are confronted with inequalities and exclusion in the patriarchal society. Woolf witnesses the efforts and achievements the feminists have made to get equal rights and positions with men, whereas she airs her view that the final goal of feminism is to deconstruct the binary oppositions between the two sexes. She presents her famous theory of "androgyny" in A Room of One's Own. She argues that androgyny is the best state of mind for writing, in which a writer can make perfect artistic expression. (Wu Haixia, 2007: ii)Woolf criticizes the patriarchal society in her works, and prompts us to reexamine the history of human by a female angle to create a new civilization. Her ideology and perception opens and enlightens the idea of feminism in many aspects. This paper tries to analyze Woolf's concepts of feminism through the reading of A Room of One's Own, to get a further understanding on feminism, which can also help deepen Chinese female’s comprehension of feminism.2 What’s feminismAt the very beginning of this paper, a basic question needs to be answered. That is what feminism is? In the academic circles of Europe and America, "feminism" generally refers to any activities to strive for and tick up for the right of females. It has several hundred years' history and has complex contents. Therefore, it is difficultto define it.2.1 The etymology of the term "feminism"The term "feminism" is derived directly from the Latin word fēmina,which means woman. This term and its derivatives originated in France during the late 19th century. The first person who called herself feminist was a French suffragette activist, Hubertine Auclert(1848-1914).She first used this term in her periodical called La Citoyenne in 1880.(Cai Qing, 2005: 3) However, although this term was used in her periodicals, it was not popular among women advocates who were rather moderate. Instead of "feminist", these women called their organization "feminine". It was not until the beginning of the 20th century when "feminism" became accepted by most women suffragette activists.2.2 The definition of the term “feminism”In broad sense, feminism can be defined as social movement, which takes eliminating sex discrimination and ending the oppression on women as its political goals. It also includes the revolution in ideology and culture which emerged from the process for pursuing its political goals. In this sense, feminists represent those who devote themselves in this movement sincerely, and any males and females who take part in the revolution of ideology and culture. In its narrow sense, feminism refers to a kind of methodology that regards and analyses a question in a gender perspective.Feminism now stands for a movement or philosophy that questions the unequal balance of power between men and women. Feminists fight for equality between men and women. The term "feminism" has become the name for the women's movement, the quest for social changes aimed at improving the position of women. Feminism is defined both as "the theory of the political, economic, and social equality of the sexes " and " organize activity on behalf of women's rights and interests".(Merriam-Webster, 2003: 461) Hence, the term feminism is not only about the struggle for political rights. It is a system of ideas and a social movement, directed towards opposing men's privilege of position and women's subordination. This term contains redistribution of power and recognition of sex equality.2.3 Virginia's concepts of feminismVirginia Woolf is not only a female writer, but also a pioneer of feminism. Her essential contribution to feminism is her perseverance that social and economic elements are critical to shape women's creativity and perception. According to her idea, women play a historical role to join in the creation of human civilization, especially the arts. What she emphasizes is that females should face the reality and think things that related to them instead of thinking things that concerned men. Therefore, she puts forward the idea that females should set up a literature of their own. To deal with the anger that appears in the process of writing and derives from the inequality between men and women, she proposes a concept of androgyny. An androgynous mind is the best state of mind for doing literary creation. However, it causes a heated debate among later feminists. Although it is controversial, she creates a bright future for females.Virginia's view of feminism is embodied intensively in the idea of androgyny. Androgyny has more than one meaning. It may refer to the anatomical coexistence of two sorts of sex organs in the same body; or else to the allegory of a form of spiritual perfection. In other cases, it is related to the explicit coexistence of male and female qualities in the same entity. (Wu Haixia, 2007: 23-24) To put it simply, androgyny means full balance and command of an emotional range that includes male and female elements. She thinks the final goal for feminism is to eliminate the opposition between males and females. Virginia's feminism includes economic independence, spiritual independence. Her analysis on feminism corrected the shortage of feminism in 1890s to 1990s, which emphasized the equality between men and women on law. What's more, her view of feminism inspired the new feminist in 1960s and 1970s to deconstruct male's political and cultural supremacy and establish female's visual angle, predicting the orientation of post-feminism in 1990s.3 Virginia’s feminist idea in A Room of One’s OwnA Room of One's Own is Virginia's representative work of feminism. In October, 1928, Virginia Woolf was invited to give two academic speeches by Cambridge University. One was in the Art Society of Newnham, the other was in the Gordon women college. The lecture topic was Women and fiction. The next year, she published a brochure,which was written on the basis of these two lectures. Quickly, the booklet amazed the world with a single feat at that time. Up to now, it has become the most famous work and has most readers compared to her other works. It is universally acknowledged as a declaration of western feminism.The work---A Room of One's Own can be divided into six parts. The first part describes an experience in Oxbridge University fabricated by the author, which shows an unfair treatment that females received in a patriarchal society. The second part represents a phenomenon that the author found a large amount of books about women's problems written by men in the England museum. What’s worse, one professor claimed absolutely in his marvelous work that female's intelligence, physical power and morality are all lower than males. In the third part, the writer sketches a hypothetical "Judith" Shakespeare, sister of William, who is as brilliant and promising as he, but her talent is undoubtedly buried by the patriarchal society. Woolf traced back to the females' rough process for getting in the literature arena in the forth part. Aphra Behn (1640-1689), a playwright, novelist and poet of England, who is the first English female to became a professional writer in 17th century. Then women writers began to feel proud and elated. However, most English women writers had to use males' name as pen names to relieve their social pressure during the 19th century. In the fifth part, the author points out that it is necessary to strengthen females' awareness of knowing the difference between males and females. Only in this way, she thinks, females can realize the true value of themselves. In the last part, Virginia agrees with Samuel Taylor Coleridge's androgynous idea, believing that a writer's creative soul should have both masculinity and femininity. In other words, a person is a bisexuality instead of a unisexuality. A person is androgynous. When full balance and command of an emotional range that includes male and female elements reached, these men writers or women writers can create great works.3.1 Economic independenceFemales are facing an economic problem. As is known to all, economy is the basis of living. Women lose their economic source, when the patriarchal society excludes them from the public work, which causes them sink in a poor state. In reality, what females are engaged in are human beings' personal production and all kinds of necessary house works to maintain many families’ functions. When women are doingthese, they use up their physical power, energy, and even sacrifice their lives. However, these are all done in the area of family. Their yields often cannot leave any tangible fruits. For example, the cooked food will be eaten up, the washed clothes will be dirty after wearing again, and children who have been raised up will leave home to get in their own world. Don't these household labors have any value? Is there anybody who pays them salary? Therefore, these natural, non-commercial labors are excluded from the social labor by the patriarchal society, because they are only related with personal family members and they cannot create value directly. Since the unpaid labor take up most energy of females, they lose their subject position in the society and lose the source of finance. Therefore, if females want to get rid of the disadvantaged status imposed on them by history and reality, they should strive for the economic position. Just like what Woolf says in A Room of One's Own, women should have revenue of 500 pounds every year. She considers that the main reason why there are so less women writers is that our mother is too poor. For example, if Mary's mother " had gone into business; had become a manufacturer of artificial silk or a magnate on the Stock Exchange; if she had left two or three hundred thousand pounds to Fernham, we could have been sitting at our ease tonight and the subject of our talk might have been archaeology, botany anthropology, physics, the nature of the atom, mathematics, astronomy, relatively, geography. If only Mrs. Seton and her mother and her mother before her had learnt the great art of making money and had left their money, like their fathers and their grandfathers before them, to found fellowships and lectureships and prizes and scholarships appropriated to the use of their own sex, we might...have looked forward without undue confidence to a pleasant and honorable lifetime spent in the shelter of one of the liberally endowed professions. We might have been exploring or writing; mooning about the venerable places of the earth; sitting contemplative on the steps of the Parthenon, or going at ten to an office and coming home comfortably at half-past four to write a little poetry." (Virginia Woolf, 2005: 576) They haven't learned how to make money, how to manage their own property. For thousands of years, women are handling house works and rearing children, while men are doing business for making money. While princes and aristocrats use their properties to build many schools and libraries, women are rejected out of the colleges; they are restricted in a small circle of family. They have no rights to receive education. As a result of being deprived of enjoying rights of owning their ownproperty, females' desires for making money are constrained. The thousands of years' influence of patriarchal society places women in a penniless position.Women began to walk out of the household in 20th century. Thus, many women writers sprung up. We can see that for the latest hundred years, the appearance of many women writers are concerned with the rights women have achieved, especially the acquirement of economic right, which plays an important and positive role in art creating. Woolf herself also admitted that she and her sister obtained all their father's books after their father's death, so she could start her writing career. In A Room of One's Own, the narrator also repeatedly says that but for her aunt's 500 pounds' heritage, it might have been hard for her to break away most women's fate---working hard in the household or going out for earning money to keep the pot boiling. All in all, females should be independent in the economy.3.2 Having a room of one's ownVirginia said that “a woman must have money and a room of her own if she is to write fiction." (Virginia Woolf, 2005: 555) It has been discussed that females should be financially independent. Now, it turns to a room of one's own. Having a room of one's own not only indicates that females should have their basic living space, but also means that females should have a comparatively free spiritual space.3.2.1 Living spaceIn the past, women were restrained in a small room, being busy at doing trivial house works all day. It was not uncommon that their works would be suspended. What's worse, they had to hide their works quietly to avoid being scoffed. Jane Austen is a good example in A Room of One's Own." For she had no separate study to repair to, and most of the work must have been done in the general sitting-room, subjecting to all kinds of casual interruptions. She was careful that her occupation should not be suspected by servants or any persons beyond her own family. Jane Austen hid her manuscripts or covered them with a piece of blotting-paper." (Virginia Woolf, 2005: 604) Therefore, having a living space for one's own plays an essential role in females' creation.3.2.2 Spiritual spaceMany women writers were born in rich families. They had money and their own living spaces. However, they depended on their parents so much that they didn't go out for traveling to broaden their eyes. They did what their fathers asked and even married to who their fathers picked for them. When they were children, they were subjected to their fathers; when they were married, they were obedient to their husbands; when they were old, they complied with their sons. It is just like the three cardinal guides and the five constant virtues as specified in the ancient Chinese feudal ethical code. Women never had their own minds and their own spiritual space, they were not spiritually independent. Woolf pays more attention to the influences of patriarchal society on women's writing.3.3 Establishing female's valueWoolf finds that women's writing hasn't had their own tradition. Therefore, she proposes that females should set up their own value. To create females' literature or other careers, they have to take two times adventures. First of all, killing the "angel in the house", to be ourselves. Here, the "angel in the house" represents the stipulations that imposed on women by social norms and ideology of traditional culture. It also refers to females' conscious compliance to this oppression. They even turned patriarchal oppression and forbidden into their self requests and self-conscious actions. Facing this, Woolf realizes that the only way is to kill it, otherwise "she will kill me, she will dig out my heart of writing". The second adventure is to express truly the physical experience of ourselves. Women's requests suffered an extreme suppression and twist in the patriarchal society. According to Woolf, the consciousness that how a man will look at a woman who expresses her own real lust disturbs a female writer's imagination and damages her creativity. Therefore, expressing one's own real idea becomes an important means to remove the patriarchal ruling.3.4 The pursuit of androgynyAndrogyny is Woolf's social and literary ideal, but its premise is getting rid of the two sexes inequality and opposition, and the discrimination on females. Many feministsare unwilling to accept this viewpoint. For example, Elaine Showalter points out that "Woolf's androgyny is a female writer's reaction to her crag-fast condition". (Zhugang, 2006: 355) It is a utopia imagination of an ideal artist. Although it is quite controversial, it is a revolt to the creative standpoint of literature which regards male value as the unique standard. It is an initial deconstruction to the binary opposition of sex. It has a great influence on the generation of subsequent feminism theory and its criticism.Androgynous mind is central to Woolf's feminism. She defines it as "a mind that is reason; that transmits emotion without impediment; that is ceaselessly creative; incandescent; undivided. In fact one goes back to Shakespeare's mind as the type of the androgynous, the man-womanly mind." (Huangzhong, 2005: 23-24) Simply speaking, androgyny means full balance and command of an emotion range that includes male and female elements. She thinks that an androgynous mind is the best state of mind for doing literary creation.Woolf proposes at the beginning that "a woman must have money and a room of her own if she is to write fiction." (Virginia Woolf, 2005: 555) However, she also points out that the economic problem is not the only element that impacts women's writing. A placid and healthy state of mind is also necessary. The narrator takes Lady Winchester as an example in the 4th chapter of A Room of One's Own. She was noble both by birth and by marriage; she was childless; she wrote poetry. Her mind was disturbed by alien emotions like fear and hatred, so her poems showed traces of that disturbance:How we are fallen! fallen by mistaken rules,And Education's more than Nature's fools;Debarred from all improvements of the mind,And to be dull, expected and designed;And if someone would soar above the rest,With warmer fancy, and ambition pressed,So strong the opposing faction still appears,The hopes to thrive can ne'er outweigh the fears.Yet it is clear that could she have freed her mind from hate and fear and not heaped it with bitterness and resentment, she could create pure poetry as follows:Nor will in fading skills compose,Faintly the inimitable rose. (Virginia Woolf, 2005: 599-600)Charlotte Brontěmay be another example. As we all know, she is an brilliant English novelist. However, Woolf finds that there is a certain shrillness arising out of her works. Although Woolf thinks that she is more genius than Jane Austen, her anger makes her books "deformed and twisted" (Virginia Woolf, 2005: 606). There is no doubt that a woman writer would become angry in a man-dominated society. She expresses her dissatisfaction in her famous work---Jane Eyre: “Women are supposed to be very calm generously: but women feel just as men feel; they need exercise for their faculties and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer..." (Virginia Woolf, 2005: 606) As a consequence," She will write in a rage where she should write calmly. She will write foolishly where she should write wisely. She will write of herself where she should write of her characters. She is at war with her lot. How could she help but die young, cramped and thwarted?" (Virginia Woolf, 2005: 606)On the other hand, Jane Austen had been constantly disturbed when writing Pride and Prejudice. Therefore, Woolf thinks that the environment should have influenced her and she would write a better one if there were no disturbances. To Woolf's surprise, when she "read a page or two to see, but I could not find any signs that her circumstances had harmed her work in the slightest." (Virginia Woolf, 2005: 605) She thinks that because Austen wrote "without hate, without bitterness, without fear, without protest, without preaching. That was how Shakespeare wrote." And "when people compare Shakespeare and Jane Austen, they may mean that the minds of both had consumed all impediments; and for that reason we do not know Jane Austen and we do not know Shakespeare, and for that reason Jane Austen pervades every word that she wrote, and so does Shakespeare. (Virginia Woolf, 2005: 605)What is the difference between these two groups of examples? We can see that in the last chapter of this essay. The narrator gets the inspiration when she sees a very ordinary sight out of the window: a girl and a young man are coming down the street, meeting at the corner and getting into a cab. Then she sketches a plan of the soul so that "in each of us two powers preside, one male, one female; and in the man's brain the man predominates over the woman, and in the woman's brain the woman predominates over the man. The normal and comfortable state of being is that when the two live in harmony together, spiritually co-operating. If one is a man,still the woman part of his brain must have effect; and a woman also must have intercourse with the man in her. (Virginia Woolf, 2005: 623-624) She thinks that perhaps what Coleridge meant when he said that a great mind is androgynous.4 Factors leading to Virgini a’s feminist viewVirginia Woolf is a productive writer and a great feminist, but first of all she is a social being, so her ideas can not be separated from the factors leading to her feminist view. As a result, it is far from enough to know about her and her work only by knowing her talents and achievements. Her parents and the Bloomsbury Group are of great influence on her writing and her feminist ideas. Besides, there are sexual assault by her brothers, the Industrial Revolution and the Women’s Right Movemen t.4.1 H er parents’ influenceVirginia Woolf was born in a literary family. Her father was the distinguished Victorian author, critic and Alpinist, Sir Leslie Stephen (1832-1904), editor of the Cornhill Magazine (1871-82), of the Dictionary of National Biography (1882-90) and of the Alpine Journal (1868-72), who counted Thomas Hardy, Henry James and George Meredith among his friends (Jane Goldman, 2008: 3). Her mother was Julia Prinsep Stephen (1846-95), who was born Julia Prinsep Jackson, in India, the daughter of John and Maria Jackson. Her maternal grandmother, and Woolf’s great-grandmother and namesake, was Adelin (1793-1845), daughter of Antoine Chevalier de L’Etang and Thérèse Blin Grincourt,who married James Pattle (1775-1845) of the Bengal Civil Service (Jane Goldman, 2008: 4). There is no denying that her parents exerted great influence on her thinking. She was born in a large and well-to-do family, with learned father and mother, intelligence and wide social connection.Her father, Leslie Stephen, a widower, had married Julia Jackson in 1878. Between them they already had four children; after they got married, they had another four children: Vanessa, Thoby, Virginia and Adrian. This family was a typical patriarchal family of Victorian time. In the family, the patriarchs were in charge of everything, owing unassailable powers, capable of enforcing everything upon women. There is evidence in the article of Virginia Woolf and Leslie Stephen: History and。
西方女性主义与文学作者:宋秀葵李玲来源:《读书》2012年第01期一女性主义在西方是一种妇女争取男女平等具有浓烈政治色彩的社会运动,以及由此产生的思想和文化领域的革命,其影响现在已经扩散到文学、社会学、历史学、人类学、文化学等领域。
女性主义的提出主要是基于对实证主义的反思和批判。
女性主义对实证主义的挑战主要集中在对以主客体的二元分离为前提、以价值无涉和情境独立为保障的客观性原则的批判上。
建立在实验基础上的实证主义方法认为,社会生活可以作为研究对象而进行客观的观察和分析。
客观的观点不受观察者的价值观念、道德判断和意识形态的影响,它提供不带观察者个人感情和意志色彩的各种事实和解释。
女性主义学者发现社会学研究者主要由白人和上层阶级特别是男性所构成,他们中大多数身居要职,因此他们的研究成果常常代表精英群体的观念,他们很难成为独立和价值中立的研究者。
如果把他们的观点当成普遍的真理,而把其他政治群体的观点看做是偏见或不客观的观点,那么就有可能压抑了认知者性别作用的可能性。
因为以男性视角和以女性视角来看这个世界的各种关系和规律,其结果可能大相径庭。
女性主义学者还认为,男性把自己对世界的描述混同于普遍真理,把男性的偏见隐藏在中立和客观的表象之下,忽略了女性和下层阶级的经验与特点。
实证主义者对抽象的理论和复杂的量化数据非常重视,因而他们更容易进入专家群体和权力中心。
实证方法低估了个人经验和普通人的日常生活知识,强调理性高于感情,客观高于主观,精神高于肉体,加剧了男女的不平等。
吴小英在《女性主义社会学初探》(《中国社会学年鉴(一九九五——一九九八)》,社科文献出版社版)中指出,二十世纪六七十年代之交,西女性主义文化思潮在学术界各学科领域掀起的一场“性别革命”——其主旨在于揭示西方传统学术中的性别偏见和男性中心的假设,将被忽略和排斥的女性经验有形化、合理化,使女性成为研究的主体和知识获取中的主体;并以性别化(gendered)理解的方式重新诠释现有知识框架和社会现象,建构一种不同于西方主流学术的女性主义学术(feminist scholarship)。
西方女性主义文学批评概述女性主义文学批评于20世纪60年代末兴起于欧美国家。
在20世纪下半叶的西方文论史中,女性主义占据了很重要的地位,可以说自结构批评后的各大主要文学批评流派,女性主义者都有涉足。
女性主义批评已经渗透并改变了人们从前习以为常的思维方式,在很大程度上冲击了人们对性别角色的传统定位。
一、演变与特色女性主义,又称女权主义,是研究女性性别和女性权利的学说。
最富有代表性和创造性的女性主义文学批评是英美学派与法国学派。
法国女性主义文论的特点是:理论性强,涉猎广泛,/具有激进的反资产阶级的偏激,其背景深深地植根于马克思主义文化之中,并承袭辩证的思维方式0(克丽斯蒂娃5中国妇女6英译本),强调压抑性。
其杰出的女性主义代表有:著名存在主义作家西蒙娜#德#波伏娃(SimonedeBeauvoir,其作品5第二性6成为女性主义的/圣经0),海伦娜#西索(HeleanCixous)、露西#伊丽加芮(LucyIrigaray)、朱莉亚#克丽斯蒂娃(JuliaKristeva)等。
英美女性主义批评的特点是接受马克思主义学说,重视文本批评,具有后现代性。
美国批评更重视对欧洲文化中心和白人中心的反抗。
其代表作家有ViginiaWoolf(5一间自己的屋子6)、MarryEllmann(5思考妇女6)、KeteMil2lett(5性政治6)、ElaineShoualter(5她们自己的文学6)等。
西方女性主义文化诗学经历了从现代到后现代的心路历程,在半个世纪的不断变化中,形成了自己鲜明的个性。
它广泛借鉴西方当前流行的马克思主义、精神分析、语言分析、存在主义、解构批评等的哲学和方法论,提出了一系列富有开拓性和创造性的理论和主张。
同时,女性主义批评积极参与社会政治变革,自始至终推动社会政治进步,具有社会性和政治性。
女性主义仍然有着蓬勃生机和无限发展前景。
二、女性主义批评的核心:性政治女性主义批评的核心是性政治(sexualpolitics),认为女性具有独特的自然优势和社会特质,有权对性政治发表意见。
英国文学中的女性主义理论研究女性主义,是一种认为男女应该在社会、政治、经济、文化等各方面具有平等地位的思想和运动。
如今,女性主义已经逐渐被接受,并呈现出不断深化和发展的趋势,而在英国文学中,女性主义理论也得到了极大的关注和探讨。
一、女性主义文学理论中的重要学者英国文学中的女性主义理论研究是以一批著名的女性主义学者为代表的,这些学者均表现出了对于女性在文学中地位的关注和思考,他们极大地推动了英国女性主义研究的发展。
其中最为重要的应当是弗里德里克娅--雄辩(Phyllis Chesler)、嘉芙莲•A•克拉斯(Caroline A. Krass)、贝蒂•弗里德曼(Betty Friedman)、希拉•罗登•克林顿(Hillary Roden Clinton),还有许多其他的女性主义学者都对英国文学中女性主义理论的探索做出了巨大的贡献。
二、女性主义文学的发展历程英国的女性主义文学起源于19世纪中叶,此时社会上的妇女开始关心自身的权利和地位,同时也表现出了持续不断的行动和斗争。
在文学中,女性主义的写作开始表现出了一种全新的形式,而女性主义的思想逐渐被注入到了文学中。
19世纪的女性主义小说中,女性角色开始具有了更加多样性和复杂性的特点,与此同时,也体现出了情感的复杂性和深度。
20世纪的女性主义文学则是一种更具争议,同时也更为激进的形式,它形成了对男性地位的挑战,同时强调了女性权利和能力的重要性。
此时的女性主义小说显得更加个性化,在行文方式的创新和对于社会主流文化的反驳中,逐渐形成出了一个独立的文学流派。
三、英国文学中的女性主义在英国文学中,女性主义的写作已经成为一种独特的文学形式。
女性主义将社会和文化中的性别演变、女性地位提升、家庭生活以及职业生涯的问题置于文学的视野中,随之而来的是一种更大程度的文化革命。
女性主义理论的提出和繁荣不仅促进了女性权利的保护,也促进了英国社会的升级。
四、女性主义文学的形式表达女性主义文学的写作方式和内容都有特别的表现方式,这种形式主要由女性主义写作者所引导。
美国黑人女性主义文学批评综述美国黑人女性主义文学批评综述作为文学批评的一种模式和潮流的西方女性主义,在20世纪80年代随着“理论热”进入中国。
并在之后的二三十年里,被深深地植入中国当今文艺理论批评的话语体系中并逐渐成形。
近来,国内批评界对美国黑人文学作家的关注日益加剧。
同时,也有少量研究黑人女性主义特征文学作品的文章见诸报刊。
但是这些作品仍然停留在“经典女性主义”层面上,大多把作品与作者的生物身份——女性联系在一起,强调其与男权对抗中的女性之主体性,并以此对黑人女性作家及其作品进行“女性主义”分析。
然而,如果仅仅把黑人女性主义作品归为简单地与男权对抗的问题,就大大忽略了其在反对性别歧视的同时,也在挑战着其所归属的西方主流女性主义文学批评。
黑人女性作家在其创作中往往强调的是其作为女性身份的复杂性与多重性,她们反感并拒绝使用所谓的西方白人女性主义话语来表述自己的经验。
对她们而言,一个女人的社会身份不仅仅是女人,她还隶属于某个阶级,来自于某个民族,并拥有自己独特的生活经验。
继而在种族、文化、阶级等多重因素共同作用于性别经验中进行探索,并在其作品中得以体现。
这种在女性主义文学批评领域中引入种族加性别的新式理念,为我们研究少数族裔女性文学奠定了夯实的基础,有助于更全面地了解西方女性主义文学批评发展现状,从而为国内女性主义文学批评本土化提供借鉴。
本文概要介绍美国黑人女性主义文学批评的发展史并分析其对当代西方女性主义文学批评不可或缺的贡献。
一20世纪60年代,随着女权主义运动的深入和发展,这场为女性谋求平等和权利的斗争成为了中产阶级白人女性的护身符,她们在建立“姐妹共同体”(sisterhood)过程中有意或无意地忽视了黑人女性或其他少数裔女性在种族、信仰等等上的差异。
20世纪70年代初期,美国文学史上陆续出现了获得普利策、诺贝尔文学奖等重要奖项的黑人女性作家,如沃克、莫里森等。
但是,这些日益取得的巨大成功在“种族主义”和“性别主义”所主控的批评界的境遇却经历着忽视、贬低、指摘甚至谩骂,即便在当时的女性主义文学批评世界中也没有任何的发言权或一席之地。
简述弗吉尼亚沃尔夫的女性主义理论
沃尔夫对女性主义文学批评的启示有三点:
(1)肯定了女性文学有不同于男性文学的独特题材、语言和风格等,并努力寻找妇女自己的文学传统,初步体现了对传统男性中心论文学史观的反叛。
(2)明确提出“双*性同体”的思想,认为每个人都有两个力量支配一切,一个男性力量一个女性力量。
这种双性和谐合作是文学创作成功的重要保证,这一观点在一定程度上同男性中心的单一标准相对抗,体现了对性别二元对立进行解构的一种最初尝试。
(3)对妇女创作的考察常常注意从经济地位、社会阅历和文化教养入手,认为在父*权制社会中,不仅广泛的生活经验之门对妇女关闭,法律和习俗也严格限制了她们的感情生活,这是妇女创作难以发展的根本原因。
这种社会学批评,既抨击了男*权中心社会对妇女创作的压制,又在方法论上直接启发了当代女性主义批评。
女权主义文献综述1. 前言女权主义是一种倡导人类男女平等的思想体系,旨在推动社会公正和和谐。
它始终注重问题和矛盾的深层次原因,力求打破传统的性别二元模式,让所有人都能够享受到公平、尊严和权力。
本文将以女权主义的历史、理论、实践和影响为纵线进行综述,以期为读者提供一个更全面、深入的了解。
2. 女权主义的起源与发展女权主义的诞生可以追溯到19世纪中叶,当时欧洲和美国流行着一种被称为“第一波女权主义”的运动。
这场运动主张女性应该与男性拥有同等的政治、社会和经济权利,反对男性主导的社会组织和文化规范对女性造成的不公和压迫。
经过长达半个世纪的努力,女权主义者们取得了一系列重要的成果,如获得选举权、进入工作场所、接受进一步的教育等。
然而,在达成这些成就的过程中,第一波女权主义者们也遭受了来自社会各方面的阻碍和反抗。
他们被视为“叛逆女性”,“母权主义者”,甚至“恐怖分子”,招致了公众的质疑和攻击。
这说明女权主义运动不仅面临着理论和实践上的现实困境,还必须克服社会意识形态上的难关。
3. 女权主义的理论思考女权主义理论主要涵盖三个方面:性别、权力和认同。
其中,性别理论是女权主义的核心和基础,认为传统的性别二元模式是对女性的压迫所在。
女权主义者们强调与男性的权力平等,以推动性别平等为目标。
权力理论从权力的本质、来源和分配等角度出发,分析权力对社会的影响和危害,并呼吁实现权力的公平分配。
而认同理论更加关注个体的主体性和自我认同,强调个体选择和社会环境对认同的影响。
女权主义的理论思考不仅为实践提供了方向和动力,还推动了社会意识的更新和进步。
女权主义批判了性别歧视、家庭暴力、女性刻板印象和种族歧视等问题,加强了对性别和种族的关注和探索,并推动形成了当代女性主义和多元文化主义等学派。
4. 女权主义的实践行动女权主义的实践行动包括政治、社会和文化三个方面。
在政治方面,女权主义者通过选举、法律改革和政权干预等手段,促进了女性权利的扩张和保护。
女性主义理论流派综述摘要:女性主义是一股影响力相当大的思潮,近年来国内学者开始逐渐的关注西方的女性主义问题,并发表了许多的文章对这些不同的流派进行介绍。
本文选取了西方女性主义影响力较大的几个理论流派,并概述了一些学者对这些流派的评价与看法。
关键词:女性主义;性别差异;不平等引言在人类的历史上,不论是西方社会还是中国社会,女性一直处于被压制的状态之下。
在父权体制长期的宰制之下,女性一直被男性视为私有财产,且不能发挥其聪明才智。
在中古时期的欧洲,才智出众的女子会被冠以女巫的标志,而中国自古便宣扬女子无才便是德和三从四德等伦理。
在这样的社会背景当中,女性并不是一个完整的个体,她们依附于男性而存在。
但随着社会的发展和观念的进步,女性对于权利、平等和自由的要求和呼声也越来越高。
最终,女性意识的觉醒逐渐触发了女性主义的浪潮。
第一次女性主义浪潮爆发于18世纪下半叶至1925年,运动的目标在于争取与男性平等的政治权利,包括话语权、教育权、就业权和反对一夫多妻制等。
一般来说,第二次女性主义浪潮产生于二战后的60-70年代,其基调是要强调两性间分工的自然性并消除男女等工不同酬。
要求忽略把两性的差别看成是在两性社会关系中,女性附属于男性的基础的观点。
要求分领域对相应适可公众开放,等等。
第三次女性主义浪潮产生于世纪之交,具有地方性、人身性、差异性的特点。
这次浪潮把注意力放到主体性和活生生的身份认同上,号召在各个相异的人群之间要有真诚的倾听和交流,而并不是把自己的解释图示强加给别人。
这次运动中还使女性主义者认识到,要取得实质性的进展,不仅需要世界范围内广大女性的支持,还必须争取作为人类另一半的男性的支持与配合。
前后的三次女性主义浪潮中不断的产生了纷繁复杂、观点各异的女性主义理论。
这些理论不仅直接的推动了女性主义的浪潮,同时也带给了人们一种全新的研究视角。
一、女性主义概念界定女性主义的英文是Feminism,是源自于法国的Feminisme。
女性主义相关理论女性主义理论可以被划分为宏观理论和微观理论两大类。
女性主义宏观理论包括一些对世界和历史加以阐释的宏大叙事,如:世界体系理论。
这一理论原本只是将世界区分为中心地域、半边缘地域和边缘地域,分析这些地域之间的权力关系,完全忽略了女性主义的因素。
但是经过女性主义的改造,增加了一些新的理论要点,其中包括不再把女性仅仅作为男性家长家庭的一个成员;不再认为家庭成员的利益总是一致的;分析女性独立的经济贡献,女性在全球经济中作为非正式劳动力、家庭工人、食品生产者的角色。
马克思主义的妇女理论。
马克思主义妇女理论,是运用辩证唯物主义和历史唯物主义的世界观、方法论,对妇女社会地位的演变、妇女的社会作用、妇女的社会权利和妇女争取解放的途径等基本问题作出科学分析和概括。
马克思主义妇女观主要内容包括:(1)妇女压迫是人类历史发展的一定阶段上的社会现象。
(2)妇女解放的程度是衡量普遍解放的天然尺度,妇女压迫是阶级压迫的特殊形式,妇女解放必须伴随全体被压迫阶级的解放而实现。
(3)人们在社会和家庭中的地位归根结底是由其在社会生产中的地位决定的,参加社会劳动是妇女解放的一个重要先决条件。
(4)妇女解放长期的历史过程,不仅受生产关系制约,也受生产力水平制约;不仅受物质生产水平的影响,也受精神文明程度的影响。
(5)妇女在推动人类文明、社会发展中有伟大作用;在人类自身生产中,妇女更具有特殊的价值,作出了特殊的贡献,因此应该受到尊重和保护。
女性主义的微观理论,主要有:女性主义社会性别理论:社会性别(Gender)这一概念发轫于20世纪70年代美国女权运动中,是指社会对两性及两性关系的期待、要求和评价。
社会性别常常在社会制度(如文化、资源方面、经济体制等)以及个人社会化的过程中得以传递、巩固。
社会性别理论是女权主义理论的核心概念,是西方女性主义学者对女性主义文学研究的重要贡献,它标志着西方女性主义学者的理论自觉。
社会性别理论在20世纪90年代中期以后开始传入中国。
MOUNTAIN FLOWERS并不是所有的女性写作都是女权主义的,但许多女性主义文本反映了女权主义所关注的问题。
在文学批评界,传统的文学批评因为倾向于以男性经验为基础进行普遍性的阐述而受到攻击。
传统批评方式认为文学经典作品表达永恒不变的真理,而这种真理不受性别等世俗问题的影响。
女权主义者则认为,这种批评方法拒绝承认经典文学作品常常推崇男性价值观和利益,从而使得男性偏见制度化和机构化,女性主义者因此必须提高女性对于性压迫这一事实的觉悟。
这一时期的开拓性文学批评作品《性政治》选用了男性经典文学作品作为性政治分析的依据,披露了在文学这种父权意识文化产物中的性别偏见和性暴力,解构了经典文学作品中被贬损的女性角色塑造。
女权主义者力图通过提倡对于文学中女性形象的重新评价来唤醒人们对于女性价值的再认识。
第二次浪潮中早期的女权主义者在揭露文学作品中父权偏见的同时,还努力挖掘和定义女性自己的文学传统,包括寻找和再版那些被湮没被遗忘的女性作家及作品,以及对于女性生活、创造力、风格、体裁、主题、形象等性质的重新定义。
随着性别意识的不断加深,女权主义者大力提倡一种抵抗性阅读,其目的在于揭露女性是如何被迫去认同文本中压迫女性的性别偏见的,并且培养一种真正从女性视角进行阅读、拒绝与自己的压迫者合作的女性读者。
这种观点在朱迪丝・菲特利(Judith Fetterley)的作品《抗拒性读者》(The Resisting Reader,1976)中得到极为充分的表达。
女性主义质询在人类社会中,妇女为什么总是扮演从属于男性的角色。
它关注在历史中妇女的生活是怎样变化的,探讨女性的经验与男性的有什么不同,不管是作为一种实质性的本体论或者心理差异的结果,还是作为历史印迹和社会结构的结果。
女性主义文学批评研究女性创作的文学是怎样表达或表现女性生活与体验的特点的。
它也研究男性主宰的法则,以了解男性是怎样运用文化来推进他们对女性的主宰的。
从总体上讲,女性主义有一个漫长的政治史,从19世纪到20世纪初至少在英美发展成了一种实质性的力量。
照玛丽・伊格尔顿(Mary Eagleton)的说法,弗吉妮娅・伍尔夫(Virginia Woolf)是“当代女性主义论争开创之母”,她宣布了许多后来的女性主义者们争论不休的问题,而且她本人也成了某些论争展开的场地;伍尔夫的两个关键文本对女性主义理论做出了重要贡献,即《一间自己的屋子》(A Room of One’s Own,1929)和《三个畿尼》(Three Guineas, 1938)。
她关心的主要问题是女性与男性相比在物质上的不利,第一本书集中讨论女性文学生产的历史与社会语境;而第二本则讨论男性权力与职业(法律、教育、医疗等领域)之间的关系。
在《一间自己的屋子》中,她还争论说,女性写作理应发掘女性经验,而不应该只是对两性经验的比较和对照。
因此,这篇文章成为探讨女性写作传统可能性的一个早期宣言。
伍尔夫对女性主义的主要贡献是,她认识到性别、身份是一种社会建构,能够受到挑战和发生形变。
她拒绝“女性主义”意识,要求自己的女性性(femi-ninity)处于无意识状态:“像女人那样写,但是像一个忘记自己是女人的一个女人”(伍尔夫),她挪用了布鲁姆伯里文人圈子里“双性同体”(androgyny)的性伦理,希望在“男性”的自我实现与“女性的”自我消灭之间实现一种平衡。
在这一点上,一些女性主义批评家,特别是伊莱恩・肖沃尔特认为伍尔夫在两性冲突中采取了一种被动的撤退立场,但托里尔・莫娃(Toril Moi)则提出了一种完全不同的解释,她认为这是伍尔夫的一种策略。
莫娃借取了克里斯蒂娃把女性主义与先锋派写作结合在一起的观点,提出伍尔夫的兴趣并不在男性与女性写作的平衡上,而在固定的性别身份的彻底移置上,她在自己的现代主义小说中打散了那些固定的观点,从而拆解了本质主义的性别观。
莫娃争论说,伍尔夫反对的只是那种颠倒了大男子沙文主义的女性主义,她对女性写作的独特性有十分清醒的意识。
她认为,女性写的之所以与男性写的不同,并不是因为她们在心理上与男人不同,而是因为她们在社会地位上与男人不同。
因此,她要写作女性经验的意图就是要发现描写女性生活受到限制的语言表达形式,她相信,当女性最终获得了与男性在社会经济地位上的平等之后,就没有任何力量能够阻止她们充分发挥自己的艺术才能了。
照哈姆(Maggie Humm)的说法,波伏娃及其《第二性》则成为“第一潮”女性主义的终结。
《第二性》显然充塞着第一潮阶段的“物质主义”,但它也认识到两性之间在利益上有广大的不同,并严厉抨击男人在生理、心理与经济上对女人的歧视,从而召示了第二潮女性主义的到来。
此书极为清晰地确立了现代女性主义的根本问题。
当一个女人试图界定自己时,她开始时一定说“我是一个女人”;而没有一个男人会说“我是一个男人”。
这一事实揭示在“男性的”(masculine)与“女性的”(feminine)之间存在着根本的不对称:男人界定的是人,而不是女人,这种不平衡可以追溯到《旧约》。
女人散布在男人中间,没有自己单独的历史,没有自然的团结;她们也不像其他受压迫团体那样结合在一起。
女人被铆进了一种与男人不平衡的关系中:他是“一个人”,而她只是这个人的“他者”。
男人的主宰巩固了一种屈从的意识形态气候:立法者、牧师、哲学家、作家和科学家竭力说明,女人的从属地位是上天的意志,对人世是有利的。
按照伍尔夫的说法,女人作为“他者”的假定被女人自己进一步内化了。
波伏娃的著作仔细辨析了性(sex)与性别(gender)的差异,而且看出了社会功能与自然功能之间的互动关系:“女人并不是生就的,而宁可说是逐渐形成的。
在生理、心理或经济上,没有任何命运能决定人类女性在社会的表现形象。
决定这种……所谓具有女性气质的人的,是整个文明。
只有另一个人的干预,才能把一个人树为他者”(波伏娃)。
正是与生理学、心理学、生殖、经济等相关的阐释系统建构了那“另一个人”(男性)的在场。
波伏娃对“是一个女性”(being a female)与“被建构成‘一个女人’”(being constructed as‘a woman’)作了重要区分,由此她能够在女人只要求打破她们的客观化处境时彻底摧毁父权制。
与其他“第一潮”女性主义者一样,波伏娃要求摆脱生理差异获得自由,她也同样不信任“女性性”,这样她也就与一些当代女性主义者划清了界限,后者更多地强调女性身体与无意识的重要性。
西方女性主义文学理论综述李丽琴154第二潮女性主义继承了第一潮女性主义在所有领域为争取妇女权益而进行的斗争,但它的强调重心却转向了生殖的政治、女性的“体验”、性的“差异”和“性性"(sexuality),把这些作为一种压迫的形式和一些要赞美的内容。
在性差异中讨论最多的集中在五个要点上:生物学、体验、话语、无意识和社会经济状况。
强调生理差异胜过社会化作用主要是男人们的论点,目的是让女人们“安分守己”,古老的拉丁俗语说“女人不过是子宫而已”(Tota mulier in utero)是最早确立这种态度的一个证据。
一些激进的女性主义者赞美女性生理上的特征,把它们作为优越性而非低劣性的来源;而另外一些女性主义者则欢呼特定的女性体验,认为这些体验是生活与艺术中正面的女性价值的来源。
这种论点说,因为只有女人经历过那些特别的女性生活体验(排卵、行经、分娩),只有她们才能够讲述女人的生活。
进一步说,女人的体验涵盖了不同的概念与情感生活;女人看问题的方式与男人不同,对于什么重要什么不重要她们与男人有截然不同的观点。
肖沃尔特的著作为这一方法提供了一个很有影响的例子,它集中讨论的是女作家的文学作品中如何再现性差异。
在话语方面,女性主义者对此也给予了大量的关注。
戴尔・斯彭德(Dale Spender)的《男人创造的语言》(Man-Made Language,1980),正如其标题所示,认为女人一直被男人控制的语言从根本上压迫着。
假若接受福柯的论点,即什么是“真实”取决于谁控制着话语,那么,就很容易看出,男人对话语的控制把女人诱入男性“真实”的陷阱中。
然而,多数女性主义者认为,女人确实被这种父权制的意识形态洗了脑,这种父权制意识形态生产了强大的男人与羸弱的女人的定型形象。
拉康与克里斯蒂娃的心理分析理论为第四个要点即无意识提供了解释。
一些女性主义者与生物主义彻底决裂,她们把“女性”与那些瓦解“男性”话语权威的无意识过程联系起来。
女性的性是革命的、颠覆的、异质的、“开放的”,它拒绝界定女性的性:如果说有女性原则的话,那一定是在男性对女性的界定之外的。
从伍尔夫以后,特别是马克思主义的女性主义者都把不断变化的社会经济状况与两性之间权力平衡的不断变化联系起来,这样就对女性主义拒斥一个普遍的女性性观念表示了首肯。
值得注意的是,在女性主义文学理论中,出现了所谓的英美批评,一种以肖沃尔特的“女性批评”(genocriticism)为门面的经验主义批评,它集中讨论女性写作的特别性,复元女性作家的传统,详细探索女性自己的文化。
不过,稍后出现的“法国”女性主义批评观点与此不同,,它强调的不是作家(“女性”)的性别,而是文本(“女性的”)的“写作效果”——也就是女性写作(l’écriture femi-nine)。
这里要指出的是,在第二潮女性主义的发展中“英美”和“法国”两派运动区分的主要是自60年代末以来批评理论中两种主导和有影响的运动。
美国的第二潮女性主义是从民权运动、维和运动和其他种种抗议运动获得动力的。
60年代后期,凯特・米利特的《性政治》的出版表明第二潮女性主义已经成为一个具有明确自我意识的、高度显著和活跃的运动。
从题目看,这本书继承了有意义的政治遗产,尽管有不足,它依然是一部进取心十足的、渊博的、机智的、对男性文化大不敬和具有摧毁力的著作,就此而论,它也许是那个时代的一个里程碑。
此书涉及了历史、文学、心理学、社会学和其他许多领域,其核心表明意识形态上义理的灌输和经济上的不平等是女人受压迫的原因。
这个论点开启了第二潮女性主义关于生殖、性和再现(特别是语言和视觉的“女性形象”以及色情作品)的思维。
米利特的标题说明她要讨论“父权制”问题,在她看来,父权制是无处不在的,需要作为一种政治体制进行“系统的全面考察”。
父权制使女性屈从于男性,或者把女性看作一个低劣的男性,父权制权力在公众和私人生活中直接或间接地施展约束女人的作用。
米利特借鉴了科学中区分“性”与“性别”的重要观点:“性”是生理决定的特征;而“性别”则是一个心理学概念,它指文化上要求的性别身份。
她和其他女性主义者一起抨击那些把文化上习得的“女性”特征(被动性等)看作是“自然”属性的社会科学家。
她认识到,女人同男人一样会使这些态度永久化,而在控制与从属的不平等与压抑关系中扮演这些性角色。