With the rising voice of democracy and freedom, a number of female images with rebellious spirit, pursuit of freedom of marriage and love, and personality liberation have appeared in the history of literature. For example, Zi Jun in Lu Xun's works, Qin Cousin in Ba Jin's family, Zeng Shusheng in Cold Night, Sha Fei in Ding Ling's works, Mei in Mao Dun's Rainbow, etc. In their love, marriage and work, they are resisting and subverting the tradition, moving from the deep house of their families to the society, and looking for their own space for survival and spiritual satisfaction. This paper takes, Mei, and discusses the evolution of the image of intellectual women in the history of modern and contemporary literature.
( 1)
Ding Ling's Diary of Ms. Sha Fei was published in the second issue of 1928 Novel Monthly, volume 19. It is a masterpiece depicting women's psychology in the form of diary, which has unique artistic charm in exploring the hidden corners of human nature. Sha Fei is a woman who moved from her old family to society. She is "sick" in society, and the surrounding environment makes her feel depressed, depressed and confused. In the novel, Sha Fei boldly shows her love and hate, and expresses her boredom with the surrounding environment and her desire for sex and love. In the form of diary of inner monologue, it is profound and unique, and it is undoubtedly a very powerful work. During her illness, Sha Fei, like "Dream" in The Peony Pavilion and "Madness" in A Madman's Diary, gained a free space to relax her inner feelings and emotions, and she could show her rebellious feelings to the fullest. In Sha Fei's world, the pursuit is resistance, and the satisfaction of one's own spiritual needs is a betrayal of the inherent traditional ideas. In the real society, unfulfilled wishes can only be fully displayed under the cover of "illness". Of course, the application of the image of "disease" is not limited to these.
Sha Fei is a strong rebel, and her behavior is "not done by a suitable woman", which is different from Zijun in Mourning for the Past. Zijun realized his desire to resist his family by relying on his spiritual mentor Juan Sheng, and finally returned to his old family because of Juan Sheng's refusal, announcing the failure of resistance and the arrival of his early death. Sha Fei is not Zijun. She didn't regard men as the only reliance, and became a spokesperson for women's autonomy. When she refused the simple explanation, she said, "Sha Fei is not a person who likes to be explained. I just deny that the universe wants to explain. " Sha Fei is a woman who stepped forward. She pursues not only the satisfaction of physical freedom, but also the understanding of others. "I've always wanted someone who can understand me. If you don't understand me, what do I need those love and thoughtfulness for? " What she needs is not to find a loyal male partner and make a home, but to get to know each other. Sha Fei shouted hysterical accusations in the suppressed stale air, demanding that the society give women spiritual respect. Love is understanding, not "blind love". The love of father, friends and sisters, and Di Wei's sincere and frank pursuit of love can't meet her spiritual needs. In a seemingly harmonious and rigid environment, the repression of human beings-physical repression of sex and psychological repression of love-is a kind of implicit rather than explicit persecution and repression. Sha Fei struggled painfully in this invisible oppression, and struggled with disease and society in frustration and hesitation. Sha Fei needs the satisfaction of sex and desire and spiritual understanding, which is not only the understanding of mutual understanding and love between the opposite sex, but also the understanding of the affection and friendship of his father, sisters and friends. Sha Fei's painful catharsis raises questions about emotional communication between people in society, and these survival problems have gone beyond the category of love between the opposite sex and entered a deeper and broader reflection on life issues.
The relationship between men and women is the theme of this novel. Two characters revolve around Sha Fei's love Ding Ling: Di Wei and Ling Jishi. Di Wei often "cries" in his novels. "Di Wei said he loved me. Why does he always give me only some sadness? For example, tonight, he came again and cried when he came, and he seemed to cry with great interest. " Expressing love and care with "crying" is the expression of fragile emotion and cowardly character. Di Wei is a weak person, a sympathetic and disgusting mediocre person. Sha Fei is a strong man. Di Wei's love can't give her spiritual satisfaction, and even make her feel contempt. On the contrary, the appearance of Ling Jishi suddenly aroused Sha Fei's strong sexual desire. "I saw those two bright red, smooth and greasy corners of the mouth. Can I tell people that I am looking at those two annoying little things with a child's desire for candy? " Ling Jishi's plump appearance made Sha Fei have sexual impulse and the almost abnormal desire of "I want to possess him". "I know myself, but I am a woman full of femininity. A woman only pays attention to the man she wants to conquer. " Sha Fei is a strong pursuer of love and desire, but this pursuit is not the extravagance of lust. Ling Jishi attracted her, and she approached him bravely. Ling Jishi gave her emotional comfort. But she can't accept Ling Jishi's vulgar and even depraved and shameless character and behavior. The novel shows Sha Fei's naked confession and pursuit of desire, but this is not an unlimited irrational fanaticism. Sha Fei pursues a new ideal of freedom. Even though Ling Jishi's vulgarity fills the emotional gap, his despicable and obscene character does not meet Sha Fei's rational standard. Ling Jishi only pursues "money", but "the ladies who can entertain his business friends in the living room are a few white fat sons." Equating love with "sensual enjoyment", Sha Fei despised and spurned his hypocrisy and sympathized with him for not knowing the way of the world and not getting true love. In Sha Fei's eyes, men are humble, Di Wei is vulgar and cowardly, and Ling Jishi is shameless and hypocritical. In Ms. Sha Fei's diary, there is no spiritual guide, no male strongman, only ugly and despicable human nature.
Sha Fei was tortured by emotion and desire, struggling with the contradiction between traditional ideas and inner needs, and finally Sha Fei hitchhiked south again. Break into another world by escaping or looking for a new way out of life. This new world is no longer Zijun's world, and Sha Fei has gained the ability to live independently in this world. What is the world like? That is Mei He's world.
(2)
Mei, who goes her own way, is also a female image who pursues freedom of marriage and freedom. Mao Dun's Rainbow (1929) was serialized in Volume 6 and 7 of Novel Monthly, less than one year after the publication of Diary of Ms. Sha Fei. However, we can see some characteristics of similarity and continuity from these two female images.
May Su Xing grew up in a doctor's family. The spring breeze of the May 4th Movement cut off her long hair, but in the face of the "nun's head" accused by passers-by, she was even more rebellious and proud. He fell in love with Wei Yu and boldly proposed to escape, but because of Wei Yu's cowardice and "no resistance", he gave up the opportunity and finally married Liu Yuchun according to his father's family order. However, Mei's marriage is not like a tame lamb, but uses her body as a bargaining chip to resist and control Liu Yuchun, so as to reduce her father's debt and "yield" Liu. In May Su Xing's view, marriage is a new position of resistance, even if the resistance is not successful. Wei Yu's cowardice disappointed her, and Liu Yuchun's tact and cunning made her feel anxious and helpless. She hates the plain and vulgar life of housewives and has accumulated her own rebellious psychology, but Liu Yuchun's thoughtfulness also makes her feel satisfied to some extent, even "she really wants to say,' I shouldn't torture you like this. Now I just need to wait on Wei Yu for a few days in Chongqing, and he will die soon. Let's live a good life sincerely in the future! ""But in the end, she failed to suffocate in a stagnant family. Instead, she ran away from the family and worked "not to be a housewife" to become a professional woman. The first half of the novel vividly depicts Mei's activities in the family and her struggle in pursuit and rebellion. In the end, the satisfaction of family's material desire and sexual desire cannot defeat Mei's beautiful ideal of pursuing independence and freedom. In the first half of the novel, the psychological description is subtle and delicate, and the personality is distinct, which completely shapes the image of Mei as a rebel.
At this point, Mei and Shafei's resistance is essentially the same, both of which are against the inherent traditional ideas, even at the expense of their bodies and lives. They all started from their own environment, stood on the opposite side of the suffocating social environment, shouted the voice of independence and freedom from their hearts, and realized the transformation from the weak traditional female image to the modern free female image. To some extent, they have become the strong ones in life, and they are already looking at men with a downward attitude. For example, in the eyes of Ling Jishi, in the eyes of Mei and Liu Yuchun, they are either cowards in life and emotion, or hypocritical, cunning and shameless people. Compared with, Mei's image has further developed, mainly in the second half of The Rainbow. Even though the latter part is loose and the characters are not full, it still reflects the author's observation and thinking about women and society under the background of the times. 1928 The image written by Ding Ling has always been developed in the pursuit of individual liberation and self-independence in the May 4th Movement, but in the second part of The Rainbow, Mei went beyond this range, gradually moving from a family rebel to the street, from personal space to the political stage, and becoming an active marcher and revolutionary fighter.
Mei's transformation came out step by step, and the struggle between traditional family concepts and systems gradually became indifferent with the pace of escaping from the threshold. Mei's resistance expanded to the scope of anti-imperialism and national oppression, from a fighter for national independence to a revolutionary for national independence. This is a continuation of Mei herself and her rebellious thoughts. The anger of the May 4th Movement did not ignite the heat in Mei's heart. "The slogan at that time was patriotism. Ms. Mei naturally knows that she should love, but the goal is too general and pedantic to inspire her enthusiasm. She was just a bystander. " Marching and boycotting Japanese goods are not what Mei Suhang has in mind. She is a simple woman living in her own narrow space, and her resistance is based on her own living space and development needs. When she went to the society, she had to be involved in the tide of society, but what was inherent was the inevitability of her aggressive and rebellious character development. A sense of being left out and isolated makes her stand out, and her strong self-personality makes her involved in the whirlpool of politics. "All the people she looked down on stood on that side. She was considered unreasonable and untrustworthy ... This feeling of indignation really made her straighten up." "(She) is thinking about how to go to an independent portal and do Liang's so-called activities." Finally, under the influence of Liang and Huang, he joined the organization and took to the streets, shouting: "Comrades, work hard and occupy this position! All Shanghai has moved, and the final victory belongs to us! " What Mao Dun reveals is the process of intellectual women moving towards society and revolutionary road.
At this time, what we see is the image of a revolutionary soldier. She gradually developed the consciousness of "group" (collectivism), and under the control of this consciousness, she gradually hid her personality and was buried in the fierce struggle of the revolution. As Huang said, "You should abandon those personal feelings and opinions first." When Mei found herself in love with Liang, she said, "Now I am determined to expose this confusing trance state! I'm going to be lovelorn, and I'm going to give my body to my third lover-ism! " The revolutionary power of politics made Mei a radical revolutionary, a fighter who sacrificed everything for socialism, and human personality was also integrated into the "group". Individualism was replaced by collectivism, and collective consciousness and national consciousness occupied Mei's life. Mao Dun also deliberately created a revolutionary hero image-Liang. Even though his appearance is as evasive as his career and his image is not full, "Liang attracted her (Mei) and forged a long-term love in her heart". Under the influence of Liang, Mei embarked on the revolutionary road, so the image of the guide on the road of women's life appeared again, and the shadow of trickling life appeared again. The difference is that Juansheng led Zijun to rebel against the old family and pursue a happy life, while Liang led Mei to embark on the revolutionary road of resisting imperialism and seeking national liberation. The image of this guide has become extremely important in our living environment, and has followed May's footsteps, eventually becoming a revolutionary cadre of the * * * production party.
(3)
Song of Youth is an important work in seventeen years' literature. It was published in 1958, which caused a great discussion about Lin Daojing. Born with hatred, born with Xiuni who was raped by landlord Lin. Xiuni died under the oppression of the Lin couple. Growing up under the beating and scolding of her mother, the living environment full of hatred made her have a strong sense of resistance. In order to escape the bad luck of marrying Hu Meng 'an as an aunt, he fled to Beidaihe, where he met and fell in love with Yu Yongze, reflecting the May 4th spirit of pursuing individual liberation and freedom of marriage. Later, I met Lu Jiachuan, Jiang Hua and others. Under the influence of these class enlighteners, Lin Daojing realized his backwardness and Yu Yongze's vulgar conservatism, left Yu Yongze to join the revolutionary ranks and became a proletarian revolutionary. The novel tells the story of Lin Daojing's development from a so-called "petty bourgeoisie" to a "proletarian" revolutionary, which is the process of Lin Daojing's step-by-step approach to proletarian ideology, and finally realizes the complete transformation of "petty bourgeois intellectuals" ideology. Yang Mo showed the process of proletarian ideological victory, which was in line with the mainstream thought at that time. The class position of this novel is very clear. Lin is a cruel and sinful big landlord, Hu Mengan is a shameless and cunning Kuomintang bureaucrat, Yu Yongze is a vulgar and cowardly bourgeois intellectual, and Lu Jiachuan and Jiang Hua are selfless, brave and enterprising proletarian fighters. Lu Jiachuan's charisma as a leader in the parade was broken in prison and he persisted in the struggle. Lin Hong organized a prison struggle in prison, and finally died at the hands of the enemy, and died generously. By being brave and resourceful to deal with each other, even if you are injured, you should stubbornly continue to struggle ... In Yang Mo's works, the underground revolution is filled with a tragic atmosphere of blood shed, in which Lin Daojing gradually moved from "backwardness" to "progress" and later became a sophisticated underground worker.
The first part of the work is exquisitely described, which profoundly depicts Lin Daojing's delicate and complicated psychology. For example, Lin Daojing fled to Beidaihe to visit relatives, and in the face of the turbulent sea, he even thought of suicide; Facing the north of Yongze, the loneliness of life and the yearning for Yongze; When there was an emotional rift with Yu Yongze, the portrayal of dilemma and so on was incisive and vivid, and the characters were very full. The second half is loose, and Lin Daojing became a symbol of revolution in describing his struggle, losing people's instinctive feelings and thoughts. The worlds of Lin Daojing and Sha Fei are far apart. Lin Daojing has begun to learn from Marxism–Leninism, and clearly found his own way of life-revolution. Sha Fei was depressed and lost in her own life. Mei Suxing began to flee his family and took to the streets to publicize the revolution. Lin Daojing has clearly recognized the proletarian road, which also shows that with the evolution of the mainstream thoughts of the times, writers have been influenced by the mainstream political trends of the times and adopted a passive writing position. Lin Daojing is a revolutionary activist full of hatred. Revenge and resistance are her main characteristics. She was also very miserable and disappointed (mainly in the first half), but she quickly got rid of the mental torture of her own world and tried to keep up with the producers. "Being a * * * producer of party member" became her dream. Her pain is no longer mainly due to the crisis of self-survival (Sha Fei and Mei) but because she feels that "I still have a lot of bad consciousness". She is ashamed of being the daughter of the landlord's family and tries to get rid of the mental shackles brought by this identity. In this process, self-rights and self-worth can only be realized through revolution. With the change of thought, the individual's subjective consciousness gradually faded, while the social collective consciousness took root in Lin Daojing's heart. My personality was suppressed by the consciousness of revolutionary collectivism, and changed from Sha Fei's consciousness of pursuing self-liberation and self-salvation to the consciousness of saving the people and the country. Lin Daojing gave up the struggle for himself and realized the personality alienation under the cover of collectivism with absolute obedience.
Finally, Lin Daojing lost himself in the shackles of collectivism, even lost his women, and became a symbol of struggle. When I fell in love with Yong Ze, it was because I gave her spiritual comfort when she was lost. I fell in love with Lu Jiachuan because when she felt lonely and mediocre in life again, Lu gave her new hope. However, when Lin Daojing accepted this river, it was not because of love, but because he was a "strong comrade she admired for a long time" and because "Comrade Bohr Sevik like this river deserves her deep love. What reason does she have to refuse this person who already loves herself? " So she hid her deep love and miss for Lu Jiachuan and combined with water. This marriage is not based on love, but on class feelings. Her mind is completely occupied by the revolutionary struggle, lacking the human factor, which is almost a life-and-death tool for the revolution. This is also the failure of the work, when people are portrayed as dry sound symbols, it also declares the failure of the author's writing.
Through the analysis and comparison of the images of female intellectuals such as, Mei, and others, we can see that they strive to get rid of the shackles of their families, pursue freedom and independence, expand their living space, go to society, get involved in the mainstream political vortex of society, and gradually grow from "Miss Wen" to "General Wu", and their ideology gradually changes from self-consciousness to national consciousness, thus realizing a complete change from individualism to collectivism. At the same time, women's own personalized characteristics are gradually lost, and their personalized performance can only be displayed within the scope of strong collectivism consciousness, which is restricted by collectivism consciousness. This phenomenon has developed to the point that the female images in the "revolutionary model operas" in the literature of the Cultural Revolution have completely lost their femininity. From May to May, they all grew up in a social environment full of struggle and struggle, and gradually became stronger from weak. When women become political revolutionary fighters, they are almost symbols of struggle. This kind of woman without feminine characteristics can probably be expressed by "alienation".