What does Zhang Ailing's Talking about Women mainly say?

Qing Ji Street is no longer just a real place name in Wuhan, but also flies in the palace of literature as a symbol of today's civic culture. Of course, this is all after Chi Li's novel Life Show came out. In my opinion, the biggest difference among Beijing School, Shanghai School and Han School is that Han School is a kind of cultural orthodoxy that lacks the cultural foundation of imperial city and absorbs less overseas modern consciousness, so it can only be born and raised, emphasizing self-reliance (on the other hand, it has no obedience). This cultural orthodoxy has been powerfully demonstrated in Chi Li's novels-for example, her famous trilogy "The Sun is Born", "A Life Without Love and Trouble", "An Aggressive Wife", "Li Xiaolan with Happy Pregnancy" and "Ji Ling Born in Hualou Street" all reveal the Chinese practices that you can't ignore. Personality is as jaw-dropping as viability ... but in The Master's Life Show, this single woman who sells duck necks in Qing Ji Street has to take care of her father and brother in this world and her brother and nephew in the next world. She is elegant in temperament, smart in behavior, dynamic and provocative, and the image of a contemporary Chinese woman is vivid. Chi Li positioned it as "selling duck neck" to show the author's attention to "food"; Let it play the leading role, just to show the dominant position of women in life. In our view, Qing Ji Street is a modern secular garden, full of noise and desire, smart and vulgar.

Bathtub and mirror

Unlike Chi Li, Chen Ran prefers to show women's narcissism and helplessness. Dell in Miss Dell is actually the predecessor of Ni Ao in private life. The author is interested in whether Chen Ran let his beloved hero retreat to the bathroom and feel sorry for himself in front of the mirror, squatting in the bathtub to protect his classic image, which is a high summary of real life or a daydream based on the inertia of feminist theory. As we all know, the reason why China feminists are willing to borrow the phrase "A woman is not born, she is forced" in Beauvoir's The Second Sex as their theoretical resources is because they are more willing to imitate British and American feminists (rather than French feminists) and are more willing to end the "oppression" of men on women from the bipolar thinking mode of society, oppression, comrades, struggle and revolution. This is quite different from Yongming Zhai's Night and Yilei's Lonely Bedroom. The problem now is that women's self-pity for the mirror often turns into narcissism, and even becomes the selling point of some writers and works, such as The Crow by Jiu Dan. Another interesting event is that The Golden Notebook is used as an independent textbook by millions of women all over the world, and is supported by radical figures such as Gloria Steen and Jermaine Greer. Its author is Doris? Nowadays, Doris Lessing accuses many women of being "self-righteous and hypocritical" and calls the feminist movement in the 1960s the "Look at my ass" movement. Later, she simply denied being a feminist. This is really ridiculous.

C. Zhang Ailing

The popularity of Zhang Ailing is not only regarded as the characteristics of Zhang's works, but also regarded as a symbol, a road and a way of thinking. In other words, Zhang Ailing, who is so highly regarded, shows her unique significance in comparison with mainstream literary writers in China in the 20th century. Although the legend itself is full of wisdom, composure and cultural connotation, which makes fans like Crystal want to be Zhang's dog all their lives (even the well-informed reporter Dai has to look up the news from the garbage dump of Zhang Ailing's Los Angeles apartment), the author still believes that without the strong and profound background of mainstream literature in the 20th century, Zhang Ailing would not shine today. At that time, some people said that "the outbreak of War of Resistance against Japanese Aggression completed Zhang Ailing" and ruled out the logical absurdity (putting national justice and social feelings under individuals). This statement still has its special "truth". Today, however, some people either discuss Zhang in isolation and regard him as an intellectual of China's literary world. Or simply promote Zhang to be the mainstream literary writer in China in the whole 20th century, and completely abandon the "social context" of the mainstream literature in China in the 20th century-and so on, which can only be said to be putting the cart before the horse and paying attention to one thing. Admittedly, I don't want to deny Zhang Ailing's exploration of human nature and the positive significance of her unique way. I just want to emphasize that China literature in the 20th century is incomplete without Eileen Chang, but China literature in the 20th century is sad without Ai Qing, Tian Tian, Mao Dun and Guo Moruo.

D, postmodernism

"Postmodernism" is always an extremely heavy topic. 1985 autumn, American scholar Frederick? Professor jameson gave a four-month academic lecture in Peking University. These speeches were later edited into the book Postmodernism and Cultural Theory. It was in this book, or in this four-month speech, that Frederick? Professor Jameson put forward the concepts of "postmodernism" and "postmodernism" for the first time. Obviously, as China scholars agree and admit, the proposal of "postmodernism" is closely related to the social, economic and cultural development of western countries. Specifically, Frederick thinks that 1880- 1930 is a "modern" period, and 1960 is followed by a "postmodern period". What followed after the 1960s? It is the rapid development of capitalist economy and the global divergence of post-colonial culture. Its cultural representation is the extreme development of visual media, the flattening of history and the subversion of realistic order. Interestingly, in China, it is not male writers who are most willing to demonstrate this postmodern theory, but one female writer after another. Presumably, the theoretical essence of "subversion" in postmodern theory has largely satisfied the impulsive historical demands of many female writers in China. In other words, women writers in China can finally carry out an imaginative "second revolution" with the help of this cosmopolitan thinking and through text practice, that is, to overthrow all political, economic, cultural and physical shackles imposed on women. In their view, the establishment of the new China liberated China women from the shackles of the four ropes, and only turned Xianglinsao into Li Shuangshuang. The question now is, is this "equality between men and women" really equal? The answer is no, in a sense, this is likely to obliterate the characteristics of women, resulting in the objective sense of "inequality" between men and women, because it is far from the real "woman". This requires a "second revolution", that is, to "liberate" women again. Subversion is still the reality that men master cultural power, especially the right to speak. In this way, it is easy for us to understand why female writers such as Chen Ran, Hai Nan and Lin Bai (but not Wang Meng, Jiang Zilong, Li Guowen, Zhang Chengzhi and Zhang Wei). ) are willing to demonstrate this "postmodern" theory.

E, sex

Who would have thought that sex replaced by "△" in Zhang Ziping's novels has become a meal in many writers' texts today. But after careful study, we can easily find that the evolution of sex is also a process. After a hard day in Chi Li's boring life, Yin learned from his wife and son that his cousin who was studying in Beijing was coming. Yin trapped in the house must solve the sexual problem immediately. Here, sex is not the result of two of a kind, let alone a "weapon of criticism". Sex is just a procedure you have to make do with in life. Obviously, the writer completely puts sex in a position of "submission". In Chen Ran's private life, Ni's sexuality has been given a special meaning: when Ni's sexuality was seduced by Teacher T and abandoned by her classmates, she turned both sexes into "single sex"-she established a "sister relationship" (homosexuality) with the lovely widow Wo. Here, sex is a prop against male Fuehles, and it has become a "critical weapon" written by feminist writers. In Wei Hui's "Shanghai Baby", Ni Ao "evolved" into Nicole, and the impulse to find the feeling of "death" under the legs of a man (Mark) abstracted modern women into great purity. In the eyes of Wei Hui and others, sex is a freely disposable resource. "I am my own, and I am responsible for my actions." So much so that Nicole actually regards the "Oriental Pearl" TV Tower, one of the symbols of Shanghai, as a male penis! -just whether this is the evolution of civilization or the retrogression of culture? Is it a weapon for women to criticize men for subverting Fuehles Center, or is it still tempting men? Is it a sincere and frank writing of women's own secret world or not too deep suicidal impulse? In any case, in today's personalized world, we still have to face such a problem, which is constantly cutting, confusing, unclear and embarrassing.