Feminine consciousness is the product of women's self-awakening, which is the self-consciousness of women's acquired learning and germination. It is based on women's gender identity to establish women's status as natural persons with independent personality. The following is my carefully organized paper on the awakening of female consciousness from the perspective of life. Welcome to read and study.
The awakening of female consciousness from the perspective of life 1 Keywords: female life consciousness female literature
This paper summarizes the development of modern and contemporary women's literature in China, and points out that the emergence of the development history of contemporary women's literature is actually the process of modern women's self-awareness of the subject of life. In order to realize the true return of female subjectivity and get rid of the second sexual orientation, it is particularly important for female literature to show female consciousness from the perspective of life.
First, the cognition and self-awakening of the truth of life are the spiritual core of female consciousness in the true sense.
Consciousness is a spiritual activity with people as the main body. As a gender group of human beings, female consciousness is also an important part of human spiritual wealth. Writers' literary creation is often based on their own understanding of life, so as to further restore the real world artistically through text narration. Man's subjective consciousness begins with his self-knowledge of "man". The discovery of "man" to "woman" is the deepest expression of modern people-oriented concept from the perspective of life-existence. This makes women's literature have a kind of self-consciousness at the beginning, which specifically points to the spiritual depth of women's life.
Since men have mastered sovereignty, human society has begun to realize and constantly strengthen its absolute control over women in politics, economy and culture. In a series of unequal relationships between men and women, women are constantly subject to male authority, and the result is the continuous weakness of women's self. Power also splits women's consciousness, alienating the true self into "non-self", that is, the self that roland barthes said "lives in their attention". The end result is that both men and women regard women as the "other". For a long time, women often didn't know that they were oppressed. The patriarchal consciousness rationalizes and strengthens women's submission to men through various social systems. As a result, most women accept the reality that they are inferior to men from the heart.
Since women became conscious, male social spirit has been instilled into their spiritual system, thus promoting women's socialization-accepting the values, ethics and outlook on life endowed by male ideology, so that they can look at themselves like men. Compared with male chauvinism, women's dominant position has not really been realized. Since women accepted the male ideology, they subconsciously separated themselves from women themselves, and women voluntarily became the object of gaze-"the other". Therefore, the existence of women's "self" has never really been realized, and women can't consciously enter their own life experience, so it is never possible to realize the real awakening of women's consciousness.
As women who share the same life with men, self-reflection on the value of life can reflect the awakening of women's self-consciousness, which marks the establishment of women's subjectivity, and the development degree of women's consciousness is also a measure of the historical process of women's subjectivity. Therefore, the subjective consciousness of life existence has become the internal motive force for female writers to experience their own truth from the beginning of modern women's creation, which has prompted modern women to constantly advance into the field of spiritual life existence with transcendence consciousness.
Second, women's self-awareness and subjective consciousness
Looking back on China's female literary creation in the past hundred years, it is a spiritual process for modern female writers to constantly ask about the value of women's lives. Female writers face up to the reality of existence and defend themselves against life problems such as the existence of personal life, the birth and death of their own nature, and love desire, which directly shows the life tension of Lu Yin's "conflict between emotion and reason" in female texts. The life problems that these women writers pay attention to are actually super-era and super-individual. This is the thought's meditation on the life form in historical time, the awakening of women's life consciousness to the existence of life ontology, and the life consciousness of modern women's self-consciousness and subject consciousness directly. This awareness of life has brought new horizons for women to pay attention to life and survival. Under the oppression of male chauvinism, women have realized the de facto inequality between men and women under the cover of abstract "people". In the understanding of women's liberation and equality between men and women, it is no longer just to improve women's political status and obtain economic rights and interests, but to pursue the full realization of their own value as human beings.
People's understanding of themselves and their living conditions is actually how to look at the problems existing in their lives. The basic attitude of women's literature towards human cognition is undoubtedly the true manifestation of life existence. The questioning and interpretation of women's life by women's literature shows that literature reflects, criticizes and consciously reflects on real life. The truth and profundity of women's life experience make women writers pay more attention to life itself. This makes female writers' portrayal of female images closer to the real state of life. The female images in women's literature gradually break away from the male-dominated cultural fantasy, such as the "good mother" and "disaster" modeling mode of confrontation between good and evil, but are rich expressions of life itself and women's self. Modern women's writing deconstructs the patriarchal culture, but it also breaks the fantasy of maternal myth. The life narrative of female literature is based on the presentation of the lack of human nature and the finiteness of life, which makes us see the truth of women's existence. Female writers also see the maternal disgust behind maternal love and look at the weakness of the role of mother in artistic thinking and creation coldly. Tie Ning's Rose Gate retaliates against the external environment in the form of "exposure", revealing all kinds of distorted abnormal psychology of women. Fang Fang's Sunset not only morally condemned the unfilial Ding Shi brothers, but also profoundly revealed the weakness of Mrs Ding's human nature. Wang Jiaying's mother, the minor character in the novel, also wrote deeply. She is paralyzed in bed and always finds fault with her daughter's care. Everyone else cares about her daughter's marriage, but she wants her daughter to be single so that she can be taken care of. The depiction of these characters shows that female writers' indifference to the role of mother has taken a step further in the level of self-knowledge.
The intense introspection of life in the narrative of female literature makes the female writers' self-consciousness gradually conscious, and the female consciousness in their creation fully awakens. From affirming women's natural attributes in women's ontological existence to resisting male culture, exploring the road of women's free development, from subverting and deconstructing male culture to self-reflection and criticism of women themselves, they take the initiative to assume the responsibility of revealing women's living conditions.
Thirdly, from "person" to "woman", the conscious publicity of gender consciousness.
Women's literature in China shows the development track of women's understanding of life existence from focusing on "people" to "women". At the beginning of the 20th century, women writers in China affirmed the importance and dignity of human life emotion in the way of "awakening human subject consciousness". The May 4th New Culture Movement activated women writers' female consciousness, and also inspired women's courage and determination to criticize the old society. Bing Xin's When You Are Lonely, Helpless and Poor and Superman touch the darkness of women's liberation and the whipping of paternalism. Novels such as Lu Yin's Old Friends by the Sea are well known, "full of sadness, depression, cynicism, disease and evil, ignoring everything in the world, and no one in the world is satisfied", which wrote the voices of young women at that time. In the 1920s and 1930s, a group of female writers, represented by Chen Hengzhe, Bing Xin, Lu Yin, Feng, Shi Pingmei, Yuan, Ding Ling, Feng Keng and Xiao Hong, created various text forms and artistic styles with social consciousness and female consciousness in literature, and established different forms of female literature in China.
On the one hand, the awakening of female consciousness is the understanding of "human" by female writers, and on the other hand, it is based on the unique existence of female life to confirm the value of female life under female self-subjective consciousness. With regard to women's deep life experience, its historical existence and timeliness construct the way for female writers to face the dialogue between literary historical narrative and official history. The authenticity of history can only be achieved through the objective existence of life itself, and there will be no breakpoint or vacuum state. In such a history, people can become the real historical subject. Therefore, women's literature often reflects the historical and cultural changes of that era through a woman's life events, and returns to the individual's right to exist in historical narrative. Only in this way can history truly show the blind spots deliberately abandoned by historical rationality, and only in this way can people who express themselves and their subjects in an emotional way become real historical subjects. In the narrative of life dominated by gender consciousness, women gradually return from the position of "the other" and "the second sex" to the role of being the same historical subject as men.
The full display of gender consciousness and gender consciousness is one of the most remarkable features of women's writing in the 1980s. Women's writing reveals women's existence and experience, which is constantly obscured by male discourse in history and reality, or always ignored by male narrative. The life narrative of women's literature pays attention to women's daily life feelings. After experiencing the era of political absolutism, the brushwork of China women's literature in 1980s went deep into the love level of life experience. Zhang Gu's novels "Unforgettable Love" and "Ark" are vivid manifestations of her thinking on women's issues. In addition, Lu Xinger's The Structure of Beauty, Wang Anyi's Rain, sasha vujacic and other works all show that they regard love as an ark of the spirit and expect to realize the eternal utopia ideal, which is the self-exploration of women's spiritual outlet in the materialized society-a utopia of love. Zhang Jie focuses on portraying new women who are emotionally and professionally independent, while Wang Anyi explores women's spiritual world from the perspective of gender. Her Three Loves (Love in a Small Town, Love in a Barren Mountain and Love in a Rusty Valley) can be regarded as a novel written by women to study the noumenon and fate of women's lives.
Fourthly, the excessive publicity of gender consciousness leads to the loss of female consciousness.
In the 1990s, women's writing especially emphasized the subjective perspective and paid attention to women's unique life experience and physical feelings. "Female writing" and "whispering writing" are called "bulges", among which Chen Ran, Lin Bai, Xu and Hai Nan are the representatives closest to western feminist writing. "The characteristics of women's writing in the 1990s are completely independent of male discourse. Personalized female discourse is full of all kinds of female texts, and it has become a common feature of female writers to focus on writing women's personal experiences. " Female narration always has the remarkable characteristics of "individual memory", which makes people tend to understand female writing as a spiritual autobiography. Expressing women's gender consciousness and their unique life experience and individual memory are the characteristics of Chen Ran's and Lin Bai's novels.
This kind of female personalized writing not only fully shows "privacy" in love, but also deeply pays attention to and truthfully reveals "sex" as the original desire of life in reality. Sexual desire has become the absolute theme of the works, which is the germination of women's independent consciousness. Chen Ran's private life, from beginning to end, shows the surging confrontation of personal primitive desires. At this time, women's writing tells their own life experiences in female words, which makes the private female world fully displayed in literature, thus winning women's right to speak in history and writing female life experiences that have been silent for thousands of years.
Female writers, represented by Chen Ran and Lin Bai, pay attention to and describe women's personal life feelings from a unique perspective of women. On the one hand, their descriptions of women's special physical feelings-sexual desire and sexual behavior catered to the needs of all levels in the consumption era, on the other hand, they also enlightened the unscrupulous propaganda of "sex" by subsequent female writers. Chen Ran's and Lin Bai's novels still present the conflict between female spirit and body, and at the same time, they have not given up the pursuit of the meaning of life and re-examined the life self. However, this theme reached Wei Hui and Mianmian, the "beauty writers", and desire became synonymous with all women's life and survival. Nicole's life in Shanghai Baby can be said to be the satisfaction of her senses and the fullness of her desires. In addition to sexual desire, material desire is also the heroine's tireless pursuit. 2/kloc-at the beginning of the 20th century, more avant-garde women writers, such as Jiu Dan, Mu and Chunshu, "developed" the writing of personal experience on the basis of Wei Hui and Mianmian, and developed from "beauty writers" to "body writers". The works show the values of consumerism and hedonism, and are naked and hysterical sexual exhibitions. Their creation runs counter to the original intention of female writers to promote female consciousness before. Feminism tries to change the status of women's "second sex". However, on the one hand, the status of women's secondary sex comes from the external repression in the patriarchal society, on the other hand, it comes from women's recognition of male repression. Body writers over-emphasize women's gender consciousness, and "body writing" satisfies men's selfish desires with pure sensory stimulation, reducing women to being "watched" for public consumption and play. When "personal writing" is replaced by "body writing", the visual threshold of feminist literary creation is also limited. Exaggerated "body" is the only tool and resource for women to express themselves, which simplifies the body into a synonym for material desire, so women's writing will inevitably fall into the ranks of pornographic literature. Roslin Coward, an American feminist critic, wrote in Is Female Fiction a Feminist Fiction? "Talking about sexual desire and attaching importance to sexual desire does not mean progress. Feminists have been analyzing images and concepts for a long time. They can't think that discussing sexual desire is progress just because women's sexual desire is the main concern. Pornographic literary criticism often highlights women's sexual experience, which is exactly what feminists oppose. "
"From the perspective of female subject, female consciousness can be understood as including two levels: one is to know oneself from the perspective of women, to determine their own essence, the meaning of life and their position in society; The second is to look at the external world from the standpoint of women and understand and grasp it with the characteristics of women's lives. " After getting rid of the shackles of politics, women's writing abandons grand narrative, narrows women's world and enjoys themselves in private space, which can't change women's subordinate role. Rejecting men's aesthetic perspective, focusing on women's personal life experience, including women's physical feelings, sexual desire and other perceptual contents, inadvertently "caters" to men's "vision". If female writers do not value the sociality, historicity and times of their works, they are keen on "body writing" and expose their "private world" with pure female secret desires, which will eventually lead to the loss or alienation of women's consciousness. If life is only an unconscious sensory carrier in literary narration, people can't be the subject of self. It is particularly important for women's literature to realize the true return of women's subjectivity and get rid of the second sexual orientation.
References:
Wang Guangming, Huang Lin. Gender Dialogue: Fifteen Years of Women's Literature in China [J]. Contention of Literature and Art,1997,5.
[2] Zhang Jingyuan. Contemporary feminism and literary criticism [M]. Peking University Publishing House,1992,79.
[3] Joe. Colorful melody [M]. Tianjin: Nankai University Press, 2003, 9
[4] Li Guo Life consciousness: the theoretical growth point of China women's literature in the 20th century [J]. Jianghuai Academic Journal, April, 2006.
[5] Yan Chunyu. On the development of female literature in China [J]. China Cultural Studies, 2002, Summer Volume.
[6] wang hong. Slavery, alienation and transcendence of female consciousness [J]. Social science research, 2004, 4.
The awakening of female consciousness from the perspective of life 2 Abstract: The gradual rise of female consciousness has also influenced the creative direction of China's contemporary literary works. On the basis of analyzing the concept of female consciousness, this paper further analyzes the embodiment of female consciousness in literary works and its influence on literary works creation.
Keywords: contemporary literature; Female consciousness; affect
First, the concept of female consciousness
The concept of female consciousness has different expressions in theoretical circles, but the understanding of its basic connotation is relatively unified. Generally speaking, female consciousness should include two aspects:
(1) Female consciousness emphasizes the connotation of female experience;
(2) Female consciousness pursues women's political equality. Women's inner feelings and ways of thinking are different from those of men, so they have different views on the same event. From the perspective of women, women think that they have been treated unfairly in society, so they need to resist. Female experience emphasizes women's unique physiological and cultural feelings. Physiological feelings are mainly the physiological cycle and reproductive process experienced by women, and it is precisely because women have experienced these processes that they gradually realize the particularity of their roles. It is precisely because of the particularity of women's physiology that they will encounter many setbacks in their daily lives, such as pregnant women being rejected by their units. It is precisely because women can't achieve equal status with men in their careers that women want to have more right to speak and begin to pursue their own political opinions, including establishing a free and equal political system.
Second, the performance of female consciousness in contemporary literary works.
(A) the awakening of female consciousness
After the reform and opening up, the status of women has gradually risen, and many women have begun to re-examine their love views. In contemporary literary works, many works also focus on women's love. When women's consciousness keeps awakening, they begin to pursue free and democratic marriage and oppose marriage arranged by their parents. However, many women lost themselves in the pursuit of their own marriage. Thinking about love is too ideal, which also shows that the development of female consciousness is not mature in the early stage of reform. In different periods, the development of female consciousness is influenced by various social factors. Therefore, in different social stages, there are also differences in women's love views in literary works, but they all reflect women's independence, and their expenses gradually get rid of their dependence on men. In Oh, Xiang Xue, the author Tie Ning describes the pure love between men and women, which is also the author's yearning for love. In Tie Ning's later works, simple love stories no longer exist, and most of them end in tragic fate, expounding the real life of women in real life.
(b) Awakening gender awareness
Gender consciousness has always occupied the core position in women's consciousness, and the awakening of women's consciousness was initially reflected in the generation of gender consciousness and also reflected in many literary works. In traditional society, women have always been in a subordinate position in society, but in literary works, women's gender consciousness has also been publicized to break through women's traditional position. From the perspective of sex, many works also express women's consciousness by describing women's inner desire for sex. For example, in the work Century on the Hill, the author Wang Yian practices the love and sex between men and women and thinks that they are inseparable. If we simply describe the love between men and women without mentioning sex, we can't fully reflect the true feelings of women.
(C) gradually get rid of male chauvinism
In modern literary works, the "escape" of female consciousness is a relatively constant phenomenon. "Escape" is mainly reflected in the following aspects:
(1) Escape from the existing environment and rush to other environments, which is the way for women to seek self-help after they have female consciousness;
(2) Confirming women's status, improving women's self-confidence and reflecting women's self-discovery. The escape of female characters depicted in literary works does not mean avoidance, but resistance to male chauvinism. By getting rid of the bondage of male chauvinism, women have enhanced their sense of self-independence. The phenomenon of women escaping from marriage depicted in many literary works reflects women's inner desire for freedom, but the ending is usually due to the over-closure of the heart, which brings inner loneliness, which is also a true portrayal of women in reality.
Thirdly, the influence of female consciousness on contemporary literature.
Achieve gender harmony
Sexual harmony refers to the equal relationship between men and women in political status and family life, which is also an idealized relationship between men and women. This idea also affects the creation of literary works. Writer Tie Ning once mentioned that when creating works with female themes, he is eager to describe the life between men and women from the perspective of "the third sex", so as to make the female roles more real. Only by getting rid of the bondage of gender perspective can we truly discover the essence of femininity and inner desire. In Tie Ning's novel Opposite, she got rid of the bondage of female perspective and described female roles from male perspective. The writer Wang Yian also hopes to transcend gender differences and seek equality between men and women in his works. Society consists of men and women. What Wang Yian wants to discuss is how to get along with men and women and how to keep a balance between them. In his literary work Brothers, he pointed out that in society, women should not directly point the finger at men, but both men and women should be in the United front and should help each other. There are gender, physiological and psychological differences between men and women, and it is precisely because of these differences that men and women should cooperate and complement each other.
(B) the emergence of super-gender consciousness
With the emergence of super-gender consciousness, this idea is gradually reflected in literary works. Writer Chen Ran first proposed in his works that true love has transcended gender, and can exist between men and women or in the same gender group. This view of Chen Ran was influenced by western feminism, and he expressed this view in his works: firstly, men and women should cooperate with each other, not be opposed to each other because of gender differences; Secondly, if people can't look at any time beyond gender, this idea is inferior and one-sided. If the writing of women's works is limited to the description of women's experiences and the confrontation between men and women, it will only make women's discourse space smaller and smaller. Therefore, the writer Chen Ran's writing state is: under the premise of respecting the differences between men and women in the Zhou Dynasty, she can show women's gender color and pay more attention to people's empathy, which has been fully reflected in literary works since the 1990s.
Four. Concluding remarks
Influenced by various social factors, women's consciousness gradually awakens, no longer succumbing to the traditional concept that men are superior to women, but challenging the tradition. The awakening of female consciousness has also changed the content of modern female literary works. More works began to pay attention to female consciousness, emphasizing the differences between men and women and the important position of women in society, thus promoting the better development of modern literature in China.
References:
[1] Ye Hongzhen, Tian Zhaoshan. On the female consciousness of modern female literature in China [J]. Journal of Mudanjiang University, 20 12, (7):20-22.
[2] Li Fang. On female consciousness and non-female consciousness in female literature [J]. Literary Life, 20 12, (12).
;