导　　师： 宋剑华

学科专业： 050101

授予学位： 博士

作　　者： ;

机构地区： 暨南大学

摘　　要： 对男性本质与形象的确认，在中国传统文化中一直都是由男性自己来言说与界定。“五四”新文化运动的出现，使这一单纯由男性对自我言说与界定的局面得以打破。这种局面的打破主要是因为现代女作家大规模地“浮出历史地表”，现代女作家在诉说女性自我命运的同时，也对原来一直由男性自我界定的男性本质与形象进行了“别样”地观察。正是这种女性目光的“别样”观察，使得“五四”新文化运动后的男性呈现出有别于过去的“别样”面目。 事实上，在悠久的中国传统文化中，男性//男人除了作为一种生理性别身份之外，他更多地被赋予一种文化形象的存在，比如：儒家文化所宣扬的“君子”文化形象、政治权谋文化中的“英雄//枭雄”文化形象、民间市民文化下两性情感中的“乞情弱者”的书生文化形象、负心汉文化形象等，这些文化形象在一定程度上投射出了男权文化传统下的男性自我建构的心理意识。“五四”新文化运动虽然大力反对封建传统文化，但是这并不意味着就此对传统文化彻底断裂，相反，一些深层次的文化集体无意识仍然根深蒂固地存在国人内心深处，它在适当的时候就会被触发出来，这在男权文化方面又表现得尤其突出。正是基于这种理解，本论文采取了一种有别于过去简单地研究分析现代女性作家笔下男性形象特点的分析方式，而是将研究建立在中国传统文化中已有的男性文化形象的认识基础上，观察并分析传统文化中的男性文化本质和形象在现代女作家笔下的演绎，试图发掘出现代女性作家对深藏在历史传统中的男性文化形象一种与过去不同的解读与认知，而这种“不同的认知”却正是因为女性用一种“异性”目光打量男性而得来的。本论文从根本上突破了过去就现代女性笔下的男性形象而论男性形象特点的研究模式，而是将现代女作家笔下的男性形象放在整个传统文化中男性文化形象背景下进行研究，论述现代女性笔下的男性形象发生变化之处，并指出这种变化背后的女性心理意识，这种论述方式使得女性笔下的男性形象何以以此种方式呈现显得更加具有历史发展逻辑。在与传统男性文化形象进行比较之时，本论文还适当将其与同期男性作家笔下的男性形象进行了比较，突出其与现代男作家笔下的男性形象差异。无疑，现代女作家对男性形象的叙述，对如何认知作为社会性别的男性有极强的参照意义。 总之，本论文具有切入角度新（以传统文化视角中的男性文化形象为线索来论述现代女作家笔下的男性形象）、中心新（将传统文化中的男性认知提炼出典型叙事模式来进行论述）、分析新、资料新等特点。 The male nature and image had been depicted and even defined by man themselves inChinese traditional culture until “May Fourth Cultural Movement” took place since whentremendous amount of female writers rooted and sprouted in China. While these female writerswere telling stories of women, they also contributed their unique perception on male, bringingimpact to the prevailing knowledge of the male nature and image shaped by male themselves.Consequently, the publicly recognized profile of male gradually changed after the “May FourthCultural Movement”. In fact, in the long history of Chinese civilization, other than its sex icon, the word male hasalso been dressed with different outfits for all walks of life, i.e. a gentleman in the Confuciusculture, a sophisticate and powerful figure in political struggles, in daily life sometimes avulnerable pursuer or a rentless cheater in relationships with ladies. These outfits reflected man’sself-construal consciousness under the masculist discourse. Notwithstanding the “May FourthCultural Movement” launched strong opposition against the Feudal traditional culture, it stillexisted. Some deep-rooted cultural sediment, especially the masulist culture lurked in the soul ofthe Chinese people, waiting to explode in the ripened time. Based on the aforementionedobservation and understanding, the dissertation analyzes male nature and image based on thetraditional acknowledgement and the modern female writer’s interpretation of it, other than solelylooking for evidence from the female writers’ work. By this means, it attempts to discover themodern female writers’ understanding and perception of masculine image deep-rooted in thetraditional culture, which is provide from a point of view of an opposite gender. Other than makingisolated analysis on the male image only from the female writers’ work, this dissertation puts itinto the traditional culture context to analyze the change in the writing of the modern femalewriters and point out the feminine consciousness reflected by their writings. This approach is ableto enlighten a logical and chronicle path to trace of the variation of male image in the femalewriters’ work. While comparing the female writers’ perception with the traditional view, thedissertation also tries to disclose the difference in their perception by reference to the male writers’work. It is ostensible that the female writers’ perception of male is tremendously helpful to realizethe male existence in the social context. In brief, the dissertation has made several novel attempts as follow: adopting new approach ofputting into the traditional culture context the analysis of male image in the female writers’ work,conducting the argument by turning the traditional perception of male into masculine Narrativesubjects, selecting new angle for analysis, utilizing most updated data, etc.

关 键 词： 中国现代文学 女性叙事 男性认知 传统文化

分 类 号： [I206.6]

领　　域： [文学]