This article is attempt to compare the female tragic consciousness contained in the works of the Chinese writer, Zhang Ai Ling’s, and those of the Korea writer, Cui Zhen Xi’s, by which, the real cause of the female tragic consciousness in both works is discussed. Tragic consciousness, consists of tw...
This article is attempt to compare the female tragic consciousness contained in the works of the Chinese writer, Zhang Ai Ling’s, and those of the Korea writer, Cui Zhen Xi’s, by which, the real cause of the female tragic consciousness in both works is discussed. Tragic consciousness, consists of two extremities opposite and supplementary to each other, exposes the dilemma of human culture, a challenge in itself, and meanwhile, closes the dilemma in both form and emotion, which implies an acceptance of the challenge. There are many similarities in tragic consciousness exhibited in both Zhang Ai Ling’s and Cui Zhen Xi’s works as a result of their similar growing experiences. As a common topic of the contemporary female writers, Zhang and Cui, the perspective of feminine survival value and tragic consciousness, though distinguished by various qualities, mirrors the physical abuse and mental oppression of women in the feudal culture and traditional ethics and morals. The spirit of challenge and response to challenge of tragic consciousness has been extended by Zhang and Cui to human beings and society, or even the real family life of men and women so as to expose both the extrinsic and intrinsic causes of female tragic consciousness accordingly. The description of the female tragic consciousness in both of their works can be evaluated as “eternal writings kept for women’s liberation”. Centered on the middle-length novel The Golden Chain of Chinese writer Zhang Ai Ling and the trilogy of Three Connections, master works of Korean Cui Zhen Xi’s novella, the article discusses the differences and similarities and their causes of tragic consciousness between the two original writers in their writings in the methods of parallel study, feminist literary criticism, biographic criticism and social cultural criticism. Both the writers assign the causes of female tragedy to the absurd marriage system, the weak husband and the shackles of feudal ethicsand rites upon women’s thoughts in their writing, though no specific proof of the mutual influence of the two writers can be sensed. Different attitudes toward the acceptance of challenge are proposed by the two writers though the characters in their writings might face similar survival challenges. Zhang Ai Ling has trenchantly pointed out that the crucial reason for female tragedy is the morbid society and therefore, she entrusted the hope of women to escape from the abyss of misery to the revolutionized future, whereas Cui Zhen Xi has chosen to return to maternal instinct, to restrain the desire with power of maternity and to strive to seek the way to escape tragedy and return to normal life. With an analysis of the deep causes of tragedy in both works, the historic and realistic basis is found, highlighting the value and the significance of the article and subliming the meaning of the works. Moreover, a comparison of the tragic consciousness in both works is beneficial to the understanding of the common psychological desire of women in different social systems, and thereby deepens understanding of and attention to females. Meanwhile, I hope Chinese readers can draw references from the description of the differences between the two works in reading Korean feminine literature.本文試圖通過分析中國張愛玲與韓國崔貞熙作家的作品, 對其中蘊含的女性悲劇意識進行比較研究, 以此來探討兩位女性作家筆下描述的女性悲劇意識產生原因。 悲劇意識由相反相成的兩極所組成,悲劇意識是把人類文化的困境暴露出來,這種文化困境的暴露,本身就意味著一種挑戰。 同時,悲劇意識又把人類文化的困境從形式和情感上彌合起來,這種彌合也意味著對挑戰的應戰。張愛玲與崔貞熙是具有濃厚的悲劇意識的作家,她們相似的成長經歷使她們的悲劇意識表現出了很多相似點。 透視女性的生存價值和悲劇意識是張愛玲和崔貞熙作為同一個時代的女性作家共同的話題, 雖各有千秋但都反映了肉體上殘害婦女, 精神上抑壓婦女的封建文化和傳統倫理道德, 張愛玲與崔貞熙把這種悲劇意識的挑戰與應戰精神延伸到了人與社會,甚至延續到了女人與男人之間的家庭現實生活中, 從而揭露了造成女性悲劇意識的外在原因與內在原因,對女性悲劇意識的闡述可評價為“為婦女解放留下的不朽之筆”。 本文擬採用平行研究方法,女性主義文學批評方法、傳記批評方法、社會文化批評方法,以中國張愛玲的中篇小說 《金鎖記》 和韓國崔貞熙的代表作中短篇小說 《三脈》 三部曲為中心, 探討在這些作品中體現的兩位作家的悲劇意識的異同點,及導致這些異同點的原因。雖然找不到明確的證據證明兩位作者之間存在相互影響,但兩位作者在作品中都將造成女性悲劇的原因指向了不合理的婚姻制度,無能的丈夫和封建禮教思想對女性思想的禁錮。 雖然作品中人物面臨的生存挑戰相似,但兩位作者提出了各不相同的應戰態度。張愛玲犀利的指出造成女性悲劇的癥結在於病態的社會,因此將女性脫離苦海的希望寄託在了變革後的未來,而崔貞熙選擇了回歸母性,用母性的力量克制自己的欲望,努力尋找逃脫悲劇而回歸正常生活軌道的方法。 本文通過分析兩部作品中悲劇產生的深層原因,為作品找到歷史和現實的依據,使文本的價值和意義突顯出來,通過深刻分析使作品意義得到深化。 再則,對兩部作品的悲劇意識的比較有利於瞭解不同社會制度下女性的共同心裏欲求, 從而進一步加深對女性的理解和關注。同時,希望通過對兩部作品中不同點的闡釋,為中國讀者解讀韓國女性文學作品提供借鑒。
This article is attempt to compare the female tragic consciousness contained in the works of the Chinese writer, Zhang Ai Ling’s, and those of the Korea writer, Cui Zhen Xi’s, by which, the real cause of the female tragic consciousness in both works is discussed. Tragic consciousness, consists of two extremities opposite and supplementary to each other, exposes the dilemma of human culture, a challenge in itself, and meanwhile, closes the dilemma in both form and emotion, which implies an acceptance of the challenge. There are many similarities in tragic consciousness exhibited in both Zhang Ai Ling’s and Cui Zhen Xi’s works as a result of their similar growing experiences. As a common topic of the contemporary female writers, Zhang and Cui, the perspective of feminine survival value and tragic consciousness, though distinguished by various qualities, mirrors the physical abuse and mental oppression of women in the feudal culture and traditional ethics and morals. The spirit of challenge and response to challenge of tragic consciousness has been extended by Zhang and Cui to human beings and society, or even the real family life of men and women so as to expose both the extrinsic and intrinsic causes of female tragic consciousness accordingly. The description of the female tragic consciousness in both of their works can be evaluated as “eternal writings kept for women’s liberation”. Centered on the middle-length novel The Golden Chain of Chinese writer Zhang Ai Ling and the trilogy of Three Connections, master works of Korean Cui Zhen Xi’s novella, the article discusses the differences and similarities and their causes of tragic consciousness between the two original writers in their writings in the methods of parallel study, feminist literary criticism, biographic criticism and social cultural criticism. Both the writers assign the causes of female tragedy to the absurd marriage system, the weak husband and the shackles of feudal ethicsand rites upon women’s thoughts in their writing, though no specific proof of the mutual influence of the two writers can be sensed. Different attitudes toward the acceptance of challenge are proposed by the two writers though the characters in their writings might face similar survival challenges. Zhang Ai Ling has trenchantly pointed out that the crucial reason for female tragedy is the morbid society and therefore, she entrusted the hope of women to escape from the abyss of misery to the revolutionized future, whereas Cui Zhen Xi has chosen to return to maternal instinct, to restrain the desire with power of maternity and to strive to seek the way to escape tragedy and return to normal life. With an analysis of the deep causes of tragedy in both works, the historic and realistic basis is found, highlighting the value and the significance of the article and subliming the meaning of the works. Moreover, a comparison of the tragic consciousness in both works is beneficial to the understanding of the common psychological desire of women in different social systems, and thereby deepens understanding of and attention to females. Meanwhile, I hope Chinese readers can draw references from the description of the differences between the two works in reading Korean feminine literature.本文試圖通過分析中國張愛玲與韓國崔貞熙作家的作品, 對其中蘊含的女性悲劇意識進行比較研究, 以此來探討兩位女性作家筆下描述的女性悲劇意識產生原因。 悲劇意識由相反相成的兩極所組成,悲劇意識是把人類文化的困境暴露出來,這種文化困境的暴露,本身就意味著一種挑戰。 同時,悲劇意識又把人類文化的困境從形式和情感上彌合起來,這種彌合也意味著對挑戰的應戰。張愛玲與崔貞熙是具有濃厚的悲劇意識的作家,她們相似的成長經歷使她們的悲劇意識表現出了很多相似點。 透視女性的生存價值和悲劇意識是張愛玲和崔貞熙作為同一個時代的女性作家共同的話題, 雖各有千秋但都反映了肉體上殘害婦女, 精神上抑壓婦女的封建文化和傳統倫理道德, 張愛玲與崔貞熙把這種悲劇意識的挑戰與應戰精神延伸到了人與社會,甚至延續到了女人與男人之間的家庭現實生活中, 從而揭露了造成女性悲劇意識的外在原因與內在原因,對女性悲劇意識的闡述可評價為“為婦女解放留下的不朽之筆”。 本文擬採用平行研究方法,女性主義文學批評方法、傳記批評方法、社會文化批評方法,以中國張愛玲的中篇小說 《金鎖記》 和韓國崔貞熙的代表作中短篇小說 《三脈》 三部曲為中心, 探討在這些作品中體現的兩位作家的悲劇意識的異同點,及導致這些異同點的原因。雖然找不到明確的證據證明兩位作者之間存在相互影響,但兩位作者在作品中都將造成女性悲劇的原因指向了不合理的婚姻制度,無能的丈夫和封建禮教思想對女性思想的禁錮。 雖然作品中人物面臨的生存挑戰相似,但兩位作者提出了各不相同的應戰態度。張愛玲犀利的指出造成女性悲劇的癥結在於病態的社會,因此將女性脫離苦海的希望寄託在了變革後的未來,而崔貞熙選擇了回歸母性,用母性的力量克制自己的欲望,努力尋找逃脫悲劇而回歸正常生活軌道的方法。 本文通過分析兩部作品中悲劇產生的深層原因,為作品找到歷史和現實的依據,使文本的價值和意義突顯出來,通過深刻分析使作品意義得到深化。 再則,對兩部作品的悲劇意識的比較有利於瞭解不同社會制度下女性的共同心裏欲求, 從而進一步加深對女性的理解和關注。同時,希望通過對兩部作品中不同點的闡釋,為中國讀者解讀韓國女性文學作品提供借鑒。
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