On the secularity of female consciousness in Zhang Ailing's novels: Zhang Ailing's novels deconstruct all kinds of love myths from the perspective of a woman and an ordinary citizen, showing obvious romanticism and legendary tendency, which is well known in literary circles at home and abroad. But in fact, Zhang Ailing's novels are all about "little things between men and women", in which the female images are integrated into the social reality and restore the secular life. The writer seems to deliberately pull out the "divinity" or idealized color in the female consciousness of modern literature, hoping to truly and objectively dig out another essence of female gender roles-secularity. This paper attempts to reveal the unique modern spiritual characteristics of Zhang Ailing's female consciousness from the view of human nature shown in her novels, that is, the vulgar consciousness closely related to the essence of life. (1) The female consciousness initially expressed in China's modern female literature reflects the idealized understanding and subjective grasp of female reality to some extent. This kind of female consciousness is only an external awakening on the surface, but it fails to go deep into the internal awakening in the reflection stage. Zhang Ailing was born under the demand of the development of female consciousness, and she turned female consciousness from the outside to the concern and introspection of gender ontology. Zhang Ailing once described the image of "Goddess" in her mind as follows: "If I gain faith one day, I will probably believe" _ d J ",the goddess of the earth in O 'Neill's The Great God Blanc. This is a prostitute image, but it is regarded as a goddess by Zhang Ailing, who comes from a famous family. Why? In fact, it's just that people like and even get used to idealizing secular women in literary works, and gradually forget their original features. Zhang Ailing only restored these "beautiful" features: Luoshen, who is "as beautiful as Youlong", is only a beauty in ancient costume, while Guanyin, who is worshipped in the secular world, is only a barefoot beauty in ancient costume, a semi-naked tall and fat Greek stone statue, a female athlete, a blonde virgin and a woman. Moreover, Zhang Ailing's view of secular women does not exist in isolation, but finds the original ecological living state of women from the historical depths of female roles, and pays attention to and discusses the civilized process and changes of female consciousness. As a female writer, Zhang Ailing knows that the theme closest to the inner image of women in China is the secular love story, among which Love in the City is one of the representative works. In Fan Liuyuan's words, Bai Liusu is a "real China woman" that she seldom meets. During the marriage, she was beaten by her husband, and then forced by her brother and sister-in-law who had long suspected that she was a freeloader to hold a funeral for her divorced husband in 1978. She suffered humiliation and exclusion, and curled up in the corner forgotten by "love" all day long. But such a pitiful woman, under the unintentional instigation of Mrs. Xu, a "good-hearted person", let herself play the role of "seducer", so she could not. She is very concerned about the "seducer". She confidently knows that her petite body is the oldest one. She knows that "some distant stories of loyalty and filial piety have nothing to do with her", and she knows how to advance and retreat properly in the affair with playboy Fan Liuyuan, plus her abacus of seeking a way out through marriage. All this makes Qi Tassel completely different. In fact, completely different behavior states, no matter which way, do not exist in the same person, only the water part is the same as the iceberg. As Zhang Ailing said, "Although serious women hate sluts, in fact, if they have the opportunity to play the role of temptress, no one is eager to try." It is precisely because this female role is an "incomplete role" dominated by both kinds of people that she keeps the essence, showing the original taste of secular life and the simplest love relationship in real life in this subtle love war. What's more, these "mutilated characters" are trying to be "alive" after all. Although they can't be heroes, they at least represent the vast load of that era. In the patriarchal society and culture, they have carried too much and immersed themselves for too long. This mental state and behavior pattern is a natural expression for them, so "I can forgive them anything bad, and sometimes I love them." Because they exist, they are real. " Of course, although Zhang Ailing advocated dispelling female myths in female consciousness and restoring the primitiveness and secularity of female images, she was completely indifferent. I just understand but disagree with their judgments and behaviors. Although "pleasing people with beautiful bodies" is the oldest occupation in the world, it is also a very common occupation for women. Women who marry for a living all fall into this category. However, people who only look at her figure have lost many valuable benefits in life. "On the surface, Bai Liusu's plan to make a living by love finally succeeded, but Bai Liusu's success was not the victory of love, but the fall of Hong Kong unexpectedly fulfilled her. A woman writer used the destruction of the city in World War II to satisfy a woman's tiny and ordinary daily desire. How to comment on the realization of this wish? Although Zhang Ailing didn't use the traditional conflict form to operate this kind of life tragedy, she has made it have the essence of tragedy: those challenging and arrogant human survival efforts are meaningless. (2) In the process of secularization of female consciousness in Zhang Ailing's novels, materiality has always been emphasized by her, and the writer even thinks that sometimes materiality may become the only factor that determines the development direction and process of people and things. In Zhang's novels, he did not hesitate to reveal the "evil" of human nature inflated in material desires: Mrs. Zheng in Flowers Withered is a character whose soul is eroded by money, and her daughter is seriously ill. As a mother, she is afraid that she will pay for her daughter's treatment and that her private money will be exposed. She would rather watch her daughter die: Ge in the first kitchen of agarwood chips is also a death washed away by the tide of material enjoyment. Looking at a cupboard full of gorgeous clothes, I thought, "What's the difference between this and buying it in the long hall?" But the sense of foreboding about the future can't restrain her vanity, or "I can't help but lock the door and secretly try to wear one by one", and I can't help but comfort myself: "Look! "Later, she really cut a dash on the social stage in these clothes and gradually degenerated into a senior prostitute. On the other hand, perhaps because Zhang Ailing is a Shanghai-style writer, she has a more comprehensive understanding of material civilization than other writers. In her novels, she does not blindly criticize the destruction of human nature by material civilization, but also expresses a moderate tolerance and love attitude towards material civilization. " Isn't it a good thing that scholars help themselves when they can make money, so that they don't have to wait for others to help? " [ 16]。 Therefore, as a woman, as a woman with insight into clothes, she understands why Ge can't resist the temptation of China brocade. Because for women, clothes are not only clothes, but also means that they have the weight to increase their sexual attraction and get the favor and love of the opposite sex. In a sense, the bright future of life begins here. But ... I'm afraid the highest satisfaction form of a woman's vanity lies in being able to defeat the same sex, just like Qi Tassel, "Get Fan Liuyuan, the target that everyone is eyeing, and give her the evil in her chest. "When tassel was scolded by everyone for robbing her sister Paul's marriage partner Fan Liuyuan, she was not angry and ashamed, but happy. Because "she knows that although Paul hates her, she also looks at her with new eyes and respect. "A woman, no matter how good, also can not get the love of the opposite sex, also can not get the respect of the same sex. Women are like this. " It was once thought that Zhang Ailing inherited Lu Xun's mantle of criticizing and exposing people's bad habits. In fact, Zhang Ailing is fundamentally different from Lu Xun in this respect. Lu Xun criticized and exposed people's bad habits in order to expose people's suffering and arouse people's attention to medical care, but Zhang Ailing did not want to recreate the "female soul". She just wants to show her understanding of human nature and women's living conditions. Zhang Ailing believes that the female characters in her novels live in turbulent times. In that era when there was no time and no choice, when the livelihood issue was capitalized, they were unable to seek true love and other spiritual life. Only in this way did they cruelly trample on their dignity, morality and loftiness before coming. The material proposition in Zhang Ailing's novels reflects the helpless and irresistible variation and degeneration of human nature in the process of social development. In addition, the additional significance of secularized female consciousness in Zhang Ailing's novels can not be ignored. It is of "modern" significance that female writers can come from a higher level to expose the gender defects of women in China and show their spiritual consciousness. As far as women's liberation is concerned, if women do not consciously reflect on their own shortcomings, they will never achieve real liberation. In this sense, the secularized female consciousness in Zhang Ailing's novels has also made great contributions to the theme of women's liberation. (3) Zhang Ailing's female consciousness has a unique secularization feature, which is closely related to her life experience. Although Zhang Ailing was born in a prominent feudal aristocratic family, when her father's generation had collapsed, Zhang Ailing's mother divorced her father when she was very young. Zhang Ailing's life was in a state of emptiness and insecurity for a long time, which made her know very early that she had to face the strange world and strangers alone and take on her own survival problems, both materially and spiritually. Because her mother is outstanding in appearance, personable, independent in thought and open-minded, this makes young Zhang Ailing very envious, and regards her mother as an example to learn, hoping that she will grow up as beautiful and elegant as her mother as soon as possible. So she couldn't wait to announce: "At the age of eight, you should comb your hair; at the age of ten, you should wear high heels; at the age of sixteen, you can eat zongzi, jiaozi, and everything that is difficult to digest." [19j] Of course, the female consciousness at this time is in a hazy and childish stage. As girls, Zhang Qian and He Gan's maids in Zhang Ailing's works have a patriarchal attitude and way of doing things, which makes the survival of young girls more stimulated by gender discrimination-women are despised by men, and the social customs and public awareness centered on men make her have a clear understanding of her gender. As adults. In the turbulent thirties and forties, in the gradually commercialized and semi-colonial urban life of Shanghai and Hong Kong. As a woman, Zhang Ailing independently observed and experienced the world, observed the opposite sex, observed the same sex, and observed herself. She gradually honed a pair of sharp eyes of modern women, honed the mind of independently analyzing herself, the opposite sex, the same sex, and the colorful and noisy urban world, and also honed the courage to be honest with herself and the same sex and the tolerance of self-confidence and self-reflection. Therefore, in her novel creation, Zhang Ailing expressed her painful torture and painful reflection on the theme of "flying" of women's situation, the ultimate ideal of women's existence and the meaning of women's existence by describing all kinds of misfortunes encountered by secular women in secular life and their seemingly "stable" life stories, just as she said: "A good work still lies in its description based on stable life. Without this foundation, flying can only be floating foam. It is this mature and profound female consciousness that makes Zhang Ailing's works have the significance and value of reading the mirror of social evolution and female consciousness progress, and realizes her original writing intention of "desolation is a revelation". With calm and objective realism, seemingly detached attitude and restoring vision, Zhang Ailing explored the dirt in women's consciousness. Make it beautiful and ugly. Although it is clear from right and wrong, it is always inevitable to be punished and be compassionate. It can be said that Zhang Ailing's reflection on women and the non-divinity and secularity of women thus showed have reached the depth of few precedents in modern literature. References: [1] My Articles by Zhang Ailing. Jin Hongda and Qing Yu. Complete Works of Zhang Ailing (Volume IV). Hefei: Anhui Literature and Art Publishing House. 1992: 174 .[2] Wang Anyi's secular Zhang Ailing, Zi Tong and Yi Qing's comments on Zhang Ailing for sixty years >; , Beijing: China Overseas Chinese Publishing House, 200 1: P 174. [3] [4] [5] [9] [11] [12] Zhang Ailing's Talking about Women, Jin Hongda and Qing Yu's Selected Works of Zhang Ailing (Volume IV). Hefei: Anhui Literature and Art Publishing House. 1992:p68-p72 .[6][7][8] Zhang Ailing's Love in the City, Jin Hongda and Qing Yu's Selected Works of Zhang Ailing (Volume II), Toffee: Anhui Literature and Art Publishing House, 1992: P63, R54, p. Hefei: Anhui Literature and Art Publishing House,1992: P21[13] [14] [65438+[17] [18] Zhang Ailing's Love in the City. [19] Zhang Ailing's Children's Words Are Unbridled, Selected Works of Zhang Ailing by Jin Hongda and Qing Yu (Volume IV), Hefei: Anhui Literature and Art Publishing House, 19FF2: P88. [20][2 1] Zhang Ailing's own articles, Jin Hongda and Qing Yu's Complete Works of Zhang Ailing (Volume IV), Hefei: Anhui Literature and Art Publishing House, 1992: P 172, P 173. About the author: Wang Jing (1979―― female, from Yazhou, Zhejiang, lecturer, mainly engaged in the study of modern and contemporary literature in China.