摘要
庐隐作品中"海"、"天空"、"湖"等自然环境和生态意象的文本意义,在于脱离启蒙叙事对于"家"的关注,揭示传统家庭结构统治模式的秘密:女性、儿童是最末端的一极,也是离自然最近的一极。在这个女性化的生存场所即"地上的乐园"里,自然与人文和谐交织,守护、呼唤着"花重锦官城"的春天,这是生态女性主义叙事的神话世界,对应着与"家"连生在一起的芸芸众生灵肉一致、身心和谐的安恬。
In Lu Yin＇s works, the natural environment and ecological images, such as ＂sea＂, ＂sky＂, ＂lake＂ are out of the enlightenment narrative for the ＂family＂ concerns, and reveal the secrets of the control model in the traditional family： women and children are at the least important end, but they are nearest to nature. In the feminization of survival places ＂paradise on earth＂, there are natural and cultural harmony intertwined, guardian, calls for the beautiful spring, which are the ecofeminist narrative of the myth of the world, corresponding with the ＂home＂ of the physical and mental harmony.
出处
《西北师大学报（社会科学版）》
CSSCI
北大核心
2012年第2期28-32,共5页
Journal of Northwest Normal University(Social Sciences)
基金
2010年度西北师范大学青年教师科研能力提升计划项目
关键词
庐隐
家园意识
“真”女性
Lu Yin
consciousness of homes
＂real＂ women
