二十世紀(jì)三四十年代海派都市小說(shuō)中的女性身體敘事

1、華中科技大學(xué)碩士學(xué)位論文二十世紀(jì)三四十年代海派都市小說(shuō)中的女性身體敘事姓名：劉蘭青申請(qǐng)學(xué)位級(jí)別：碩士專(zhuān)業(yè)：中國(guó)現(xiàn)當(dāng)代文學(xué)指導(dǎo)教師：李俊國(guó)2010-12-25II華 中 科 中 科 技 大 學(xué) 碩 士 學(xué) 位 論 大 學(xué) 碩 士 學(xué) 位 論 文 Abstract 1930s and 1940s were the golden ages of the rise and development of urban literature; ci

2、ty, women and their bodies, which had close relationship with each other constitute the beautiful landscape in that ages. In the 30s, the New Sensation writers composed the series of urban modern women who have the west

3、ern faces and bodies. On one hand, these beautiful sexy women dominate relations between the sexes, but as a mere symbolic presence, showing a characteristic symbol of goods - material and consumer, on the other hand, th

4、e decomposition and montage of their bodies by writers reflects the breaking feeling of the urban life. Thus reflects the out of control and survival anxiety of urban male’s lives, which directly point at the constructio

5、n the urban experience of the male writers. In the 40s, an era female writs the feminine was opened up. They restored the true color of the survival of female using their gender advantages. In their articles, dress beco

6、mes the extension of the body language, which on one hand reveal the subject, while on the other hand, conceal and manipulate their bodies; Mirror becomes a important narrative props which make the female writer examine

7、others when they confirm themselves. In addition, they revealed the ugly side of the women’s bodies beyond the scope of desire by description of the physiological diseases of their bodies; this presents the conflicts be

8、tween “for women” and “people” in true survival circumstances. Meanwhile, there was a common feature on the narrative strategy which is description of “childish” for the urban fiction writers in the 1930s and 1940s; thus

9、 on one hand reflects the desires and ideal, on the other hand they gave the childish description new connotation and pointing, which make women’s bodies gain a disruptive force. Body built the world of personal experie

10、nce for literature, so the author’s aesthetic world should set the bodies as the premise, and in this sense, the body narrative constituted the supplement and subversive of grand narrative. Key words:Shanghai school; ur