摘要
丁玲的处女作《梦珂》中的"梦珂"以其"莎菲"(《莎菲女士的日记》)的"前身"而受到评论界的长期忽视,如果将写作主体经验投射到现代中国的转化与发展之中,并将"梦珂"与"莎菲"共融为一体,值得探究的是其间隐现的互文性书写模式。以女性镜像为视角,对《梦珂》中知识女性面对男/女、事业/婚姻、城市/乡村等多个二元对立项的态度与选择,阐释其是如何将女性的自我发现、拯救与中国的"现代性"阵痛整合在同一叙事中。
DING Ling's debut Dream Creator,with Sophie as its predecessor,has long been neglected by critics.If the subject experiences are cast onto the transformation and development of modern China,and both in harmony as an organic whole,it is worthy of thinking deeply in the looming intertextuality writing mode.This paper attempts from the perspective of female imageto interpret how Dream Creator to integrate female self-discovery/save with modernity pain in China in the same narrative by means of dual attitudes towards project with multiple choice by the intellectual women in the novel in the face of male/female,career/marriage,and urban/rural.
出处
《信阳师范学院学报（哲学社会科学版）》
2018年第2期115-120,125,共7页
Journal of Xinyang Normal University(Philosophy and Social Sciences Edition)
基金
国家社科基金项目(13BZW129)
关键词
女性镜像
自我发现
现代中国
城市
乡村
丁玲
《梦珂》
female mirror image
self-discovery
modern China
city
countryside
DING Ling
Dream Creator
