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? Since 1990s, a number of female writers have emerged in China, Taiwan Province and Hongkong, who are concerned about the fate of women and explore their social values. Women's images shine in the works by virtue of their own actual life experiences and complicated inner feelings. Huang Biyun is a unique female writer.
First, the female image and its shaping techniques
Generally speaking, the creation of female images is the foothold and key for writers to write about women. In Huang Biyun's novels, we can find that the heroines in different stories often have the same names. "Many contemporary writers respect and imitate the original classics, but it is extremely rare for Huang Biyun to reuse the names of his characters." [1] Ye Xiaoxi, who pursues homosexuality recklessly in the university campus, Ye Xiaoxi, who lives in Paris and eventually dies of love, or Ye Xiaoxi, who suffers from great mental trauma and can't help vomiting from time to time, all have similar characteristics-characters set on the edge of society and emotional thoughts that ordinary people can't understand. Of course, this also highlights the unique skills and characteristics of Huang Biyun's female writing, abandoning tradition and establishing a new style.
"She is the only female student I know who wears cheongsam embroidered shoes in class. It's really artificial, but it's very eye-catching I remember that it was a pair of extremely bright red embroidered shoes. She has ear-length short hair and often bows her head to take notes, like a good student. However, she is wearing pink ChloDane-women wearing chlodane are all bad women, quietly showing off their temptations in small places, completely bad women. " [2] The novel "She is a woman and I am a woman" begins with a description of such an "artificial" and ingenious "bad woman" image. In the story, Ye, a woman, was attracted by the trip of Xu, a "bad woman", and developed a homosexual relationship in a university dormitory that was not recognized by the world. Carefully walking with them are two women with different personalities. The former is hidden inside, and the surface is an ordinary female student, while the latter is outside, and the words, deeds, and clothes should be conspicuous. When two people who seem to have no intersection meet for the first time, they are both secretly frightened and doomed to have a story. Carefully approach the trip, do not hesitate to ask the boys in the class, deliberately sit next to the trip in class, and move to the dormitory to live together after getting familiar with it; A careful love trip is no different from a man. "Pay attention to her clothes and smell more than her temperament" [3], even more than a man; Careful love trip, "love should find out whether she has temperament" [4], men pay attention to lust, regardless of women's temperament, and even think it is a trouble, as long as they are beautiful enough and obedient enough, the rest are superfluous. There has never been such a thing as kissing and caressing between them. Instead, we smoke and pretend to be wild together, watch movies and read books together, and go shopping together. At this point, Huang Biyun has blurred the relationship between them, and the details of their life together are more like mutual appreciation, companionship and care between girlfriends and confidants. The contradiction appears when the school evaluates the scholarship, and two people strive for it together and evaluate it carefully, but travel does not. She carefully bought a lux eggplant sweater for her trip with a scholarship, but she got drunk and went upstairs in the sound of motor at one o'clock that night. Since then, this trip has applied her charm to men. "At midnight, she always wears a big red sweater and black boots and swims like a leopard. There is a sapphire car waiting for her downstairs. [5] "Travel is an ambitious woman. She trades heavy makeup and 34B's body for handfuls of coins or the cover of a magazine. Meticulousness is a quiet and introverted woman. She quietly hid all her thoughts, her love and resentment for travel, her struggle and acceptance, and finally she was silently absorbed by herself.
In She's a Woman and I'm a Woman, Huang Biyun succinctly depicts the characters of two women. There are no other superfluous characters in the whole story, and all the causes and effects revolve around these two people. Follow carefully, from the strangeness at first to the lingering strangeness, and finally go their separate ways. If you just stay on the surface of the novel and look for feelings between the lines, readers will not ridicule: "That's just a routine bridge with emotional fetters. Can you steal people's eyes and ears by turning the love between men and women into a same-sex blind date? " However, once we have a careful understanding, we can understand Huang Biyun's good intentions in shaping the images of two women during a detailed trip. First of all, getting to know her carefully is not the so-called congenial taste. Paying close attention to the cheongsam embroidered shoes on her trip is not an appreciation angle. She even used "bad woman" to classify her travel, which is enough to prove that she originally came from two worlds. But then, the sentence "I didn't know I would like bad women" [6] caught all readers' hearts in their throats, full of contempt and ridicule. How can there be the word "like"? This is the uniqueness of Huang Biyun. When people have feelings and relationships, sometimes they are not limited to similarity and similarity, but can be linked at once. Ye Xixi and Xu Zhixing are undoubtedly different in character, but they are interlinked. It is handy to copy detailed "code notes" during the trip, and everyone walks with them carefully before they know how to sell themselves in a low-key way. They danced wildly in the "Yanhuaxiang" room, and everything was so natural and relaxed. This relationship is not that you say one thing, two things and ten things, and I guarantee that you will do it right, but that I say "God" and you can open your mouth and go back to "Earth". In order to highlight her image profoundly, Huang Biyun created two seemingly different women in two personality ways. As mentioned above, she kept quiet and introverted, and this trip was an external work, full of ambition and desire. But in fact, they are more like two sides of the same person, or twins who are connected with each other. They have the same intelligence and the same efforts to pursue life, but in different ways. Yan Chunjun commented that Huang Biyun was "so young and so talented" [7]. Although his words are simple, his meaning is very heavy. Huang Biyun's talent can be seen from the short length of She is a woman and I am a woman.
On the other hand, the female images in Huang Biyun's works have a strong personal color. "She is not like a young woman writer, but like a person who summarizes herself with her life." [8] Huang Biyun's women, although most of them are in adolescence, always reveal a kind of "bloom is beautiful and extremely miserable" [9] melancholy and emotions. Ying Yuli believes that the "breath" in Huang Biyun's novels is "caused by an innate bohemian temperament", and bohemian temperament refers to the writer's spiritual wandering and rebellion. People with this temperament wander around the world in life, keeping a considerable distance from the secular and family, but they are not hippies, and their souls are writing. Huang Biyun is indeed a writer with this temperament. The experience and shadow of losing his mother in his early years and being subjected to violence from his father as a child have long influenced Huang Biyun. As an adult, she wandered between various occupations and countries, and the female images in her works can be said to be a portrayal of her inner life to some extent. In "The Prosperous Age in Danger", Cheng said, "Suddenly I saw my little purple and white face sticking to the glass on the wall. She holds her face. In hell, she saw herself: small and purple. " [ 1 1]; Xiao Ye in "A China Woman Living in Paris", "Her face is slightly lavender, her lips are bleeding, and her eyes are a pair of tattered pears with unclear shapes; Only the thin hair is covered like a fragrant willow. " [12] In Wang's "No Love", "A woman in a blue uniform put her long hair into her hat and the train crossed the snowy plain. She took a sip of heating in front of the window and drew some meaningless words like sweet on the window. Will it be chilly behind the ears, and someone's cold hand touched her? But she is not alone, warming her memory in the waiter's small lounge, pressing a bleeding wound that does not exist. " [13] The female images in Huang Biyun's novels are different from the traditional female images, and so are most of them. Because of their feelings, they are thin, embarrassed and even without human beings. Because of their feelings, they wander in life depressed and frustrated, as if life should not be like this, but they can't think of a better way. Emotion is the breakthrough of women's writing in Huang Biyun, and women have been easily trapped by emotion since ancient times. Huang Biyun grasped the main line of emotional fetters and created a female image with her own label from her unique female perspective.
Second, women's resistance and struggle
From primitive tribes to feudal society, even now, women have been living in the shadow of male-dominated life and feelings. Women who devote themselves wholeheartedly to love are often more fragile and humble in love. As a female writer, Huang Biyun has a profound and keen insight into this point, and elevated the creation of female images to the record of women's struggle. As Dai said, "the love and marriage in her works are just a way for the characters to seek confirmation of their lives." [ 14]
Dangerous Times is Huang Biyun's early work. The novel tells the story of a short marriage between Fang Guochu, a university professor, and Cheng, a female college student. Cheng in the story is an independent woman who seldom talks. Before marriage, her communication with Fang Guochu was always submissive and quiet. Not familiar with the course, just silently increase working hours and hand in book reports one after another; If you fall in love with your teacher, you will only sit quietly at your desk and let the birds in your heart quietly fold their wings; Even the proposal of marriage is such an important event that you can scribble your consent before the sudden car accident. At this moment, Cheng is like a soft pocket. No matter what Fang Guochu puts in, she will be gentle and tolerant. Young Cheng is full of Platonic longing for love and is willing to make concessions in love. And when she really wants to step into marriage and get the guarantee and result of love, at her simple wedding, she saw Fang Guochu's so-called comrades-in-arms full of intestines and stomach, and her eyes were full of water, and Fang Guochu also blushed and sang. "She suddenly felt that mourning was similar to celebration, and it was a kind of desperate excitement." [15] Is everything in front of her now the life she will face every day? Shu Jing began to have a little doubt about love. And she fantasized about her wedding night countless times, but in the end she was rudely torn off by an unconscious man, and she snored after venting for two or three times. This person is Fang Guochu. After tonight, she will call him her husband. How could she be like this? "Marx said that marriage is institutionalized prostitution, so he was right." Shu Jing was full of pain. She thought she could catch love by taking a step back, but now it's more like falling into the trap of love.
However, women have always been full of persistence and persistence in love. If he gives up his desire for love just because of this short hesitation in his heart, it will be easy for his works to commit the crime of thin plot, and the struggle and resistance of women will not be reflected. Therefore, the description of the successful love heart in "The Age of Prosperity" makes the female struggle in the story very hierarchical and progressive, and the content of the story is more reasonable and profound. Cheng is a traditional woman. After the wedding night, Fang Guochu apologized to her. She only replied "duty as a wife" in good faith [17], but she is a woman with independent personality and independent thoughts. Knowing that the years are worrying, being polite to him does not mean that nothing has happened. "Fang Guochu bought her jewelry, clothes and flowers, and she accepted them gladly. But always lock the door of the room. "[18] The first wound of marriage is hard to forgive so easily. Even though they share the same bed, Cheng already feels ungrateful and unloved. In fact, the most fundamental problem in the marriage between Fang Guochu and Cheng lies in the gap between age and mentality. Shu Jing is a young and energetic college student, and there are all kinds of unknown possibilities in her life. She put herself in a small living room and bedroom for love, and her heart was compromised and wronged from the beginning. At the beginning of Fang Guo's middle age, he got a doctor's degree, got a teaching post, and finally got married, as if life had nothing to ask for, leaving all his strength to gain weight. In the novel, the character Zhou is inserted, which highlights the gap between Cheng and Fang in their life ideals. Zhou is Cheng's classmate. At the beginning, Cheng used Zhou's pursuit of himself to stimulate Fang Guochu. He "wore a red leather tie and honey-colored clothes and grinned at Shu Jing". It is this sunny image of a big boy that makes Fang Guochu feel embarrassed and inspires his possessiveness, and finally decides to marry Cheng. In the whole novel, Zhou is like an indispensable chess piece, which promotes the development of the story and is also the spiritual power of Cheng's resistance. It can be said that Zhou symbolizes the vitality and freedom pursued after marriage.
"My father taught me that in a loveless marriage, responsibility and honor are obedience and patience." [20] Cheng did not do this. She hated Fang Guochu for staying in the past tense, but she didn't put up with his lifelessness and didn't get used to a dull life like him. Cheng wanted to pull him out of the past tense and shake him hard to save himself and his little hope. Shu Jing couldn't help but shake her neck and said, "Guo Chu, Guo Chu! "She squeezed him hard, and he gradually felt difficulty breathing before reaching out to climb her. The book is as quiet as fire: "me, me!" " Fang Guochu eyes wandering, looking at the book is silent, see through her, his god, he doesn't know where to go. This book makes me dizzy, and I can't wait to crush him immediately:' Me! I am so young, why did you ruin me? Why did you ruin me? Fang Guochu was just quiet and uncomfortable with his neck. He just wanted to let go of Shu Jing quickly, but he didn't pull her again. "[2 1] Cheng went crazy in front of a piece of wood, and he didn't get a response. Fang Guochu's heart was covered with thick cocoons, and Shu Jing's struggling mood was like playing cotton. She's so desperate that she's weak all over. Got it. It turned out that she forced Fang Guochu into an old man, married him, and let him fulfill his lifelong responsibilities and obligations. "Book static shrinkage on the sofa, book static heart repeatedly, he finished. She doesn't want it to end like this: if she dies with him, she will die ... in the smoke. So she is willing to burn, let him watch the fire at the end of the darkness, and then he will sink ... one will burn, the other will sink, and the husband and wife will share joys and sorrows. Why is this? "[22] At this point, what little hope remained in Cheng Xin was all dashed. No matter how desperate he screams, he can't wake up those who pretend to sleep, and no matter how hard he struggles, he can't take away those who are willing to sink.
But Shu Jing still didn't leave Fang Guochu, because women's love for men is often resilient, and they are choked by the stagnant water of marriage, but they can't stop loving him. Cheng even felt in a trance that everything could be done again. How much she longed for this feeling, compromised for it, suffered for it, fought for it, became disillusioned and hallucinated. When she got married, she walked home from the library with a naive wish. "Maybe when I wake up, I can still enjoy family happiness with my family. She can only hope that this feeling will change everything. " [23] But before I got to the door, I heard laughter coming from a distant room. I grabbed Cheng's ear for a while, and Jasminum giraldii in front of the door was in full bloom like crazy. I woke up before I could sleep. Impossible. Cheng woke up in a self-directed illusion and knew it was impossible. "She suddenly felt very weak, so she gently held the white wooden door" [24], and the struggling posture was futile. Shu Jing no longer wants to shake him, pinch him and immerse him in the happiness of the past. "Shu Jing raised his face and rubbed a handful of jasminum giraldii powder" [25] no longer have illusions, and people don't care about the flood of emotions. Cheng moved his clothes out of Fang Guo's apartment again and again, lived and worked as usual, and came to his room to sleep at night. It's a bit strange that they live under one roof. Finally, when everything was ready, Cheng Yuefang came out and said to him, "Divorce me, ok?" [26] This time, there was no contradiction, no fierce dispute, and everything was calm. From the disillusionment of hope to the inner disillusionment, this silent premeditation has been created. We know that if a woman still has ideas about men, she will cry, make trouble and hang herself, and win men's attention and care with fierce behavior, but if she is unwilling, she will only fade away silently. Silence is better than violence. Silent struggle and resistance have no fancy coat, but they are more thick and powerful. Cheng won the marriage battle with Fang Guochu at the expense of a withered heart. Finally, "Fang Guochu couldn't help shaking his head:' I have never seen a woman like you.' The book is still laughing, and the lips are still sipping like that:' You have so little knowledge.' La Chu said to her,' candidly admit defeat. "'[27]
Huang Biyun wrote "Danger in a Prosperous Age", which shows the inner contradictions and struggles of women through marriage and love, aiming at highlighting women's resistance to life. In traditional works, women's writing is often subservient to men, and the significance of women's existence is to set off the height of men's image. However, Fang Guochu, an "old" person, is used as a foil to his "new" characteristics such as independence and advanced thinking. The women in Huang Biyun's other works are also somewhat unconventional in character, and there are obvious traces of women's struggle in the stories. Compared with Zhang Ailing, who also focuses on women, Huang Biyun broke the bottleneck of imitating Zhang Ailing's resentful women in the 1960s to some extent, and "there is a tendency to replace the tradition of resentful women with fierce women". [28]
Third, the limitations and significance of women's writing
Although Huang Biyun shows extraordinary talent in her female writing, she still has obvious limitations. "The biggest feature of Huang Biyun's female writing is not only female writing, but also her female demands and her way of understanding the world." [29] Huang Biyun, as a woman, expressed in words what she encountered in her life and her inner feelings. What is the reality, what is the essence, what women need, and how women fight for and resist it. However, it is disappointing that in almost all her works, we can't find a happy ending for women. In other words, Huang Biyun succeeded in seeing the world from her own female perspective. It's a pity that she didn't find a real way out for women, that is, after women struggle, they either lose each other or are at a loss, and struggle becomes a normal state for women. Women's writing lacks the answer to how to move on after struggling, so it is impossible to give women a real "happy ending" in their works.
Mile Shu Jing in "Dangerous Times" finally divorced Fang Guochu, apparently winning the marriage war, and she muddled through with crazy cries and silent alienation. However, when she separated from Fang Guochu at the intersection where the traffic lights flashed, the green light lit up and Fang Guochu hurried across the road. In the crowd, he would never care about the disappearance and existence of Cheng again. "Such a midsummer noon, such a traffic light intersection station, such a million people, her relatives have gone. Shu Jing clutched the sign tightly, but she felt slippery and let go. She clenched her fist, and that's all she had. When things are over, enthusiasm often gets out of control. Red light and green light, first time. The book cried quietly. " [30] Such a victory is too embarrassing for Shu Jing. On the contrary, Fang Guochu was more like a rescue, throwing off a big burden and leaving in a hurry. At the end of the story, Shu Jing just stood shoulder to shoulder and then disappeared into the crowd. Huang Biyun never gave Shu Jing the courage to be born again and love again, and his writing came to an abrupt end. "We don't know where Shu Jing went. Maybe when she is no longer young ... maybe she will find someone worse than Guo Chu, get married and have children. In this era, it seems that she can only do this. " [3 1] It seems that Shu Jing's life has lost the possibility of development and change, staying in this war forever, living in a struggling posture all his life, and only winning in marriage and failing in love all his life.
Look at other works. In "No Love", the last letter sent by deep red and green to Lin Youyou has no signature or address. "Open it is a broken tooth; It's not a complete tooth with roots, it's a half-broken tooth, it's an adult broken tooth, not a deciduous tooth. " [32] Crimson green loves Lin Youyou. Although they were lovers for only one night, she sent him so many letters in exchange for distrust and reporting. In that sensitive and chaotic era, perhaps crimson green had more than one broken tooth and bled for love. Crimson green just left without saying a word. Huang Biyun did not let her get rid of love; Ye Xiaoxi, who is vomiting, will have uncontrollable vomiting at any time because she witnessed her mother being raped and killed when she was a child. She fell in love with her brother who lives in a stranger's house, knowing that there are many human contacts, but she still can't control her feelings. Finally, in order to make herself a normal person, she was forced to let go of her love and chose to leave. Even in A China Woman Living in Paris, she carefully left her lover and went to France, but she still couldn't let go of her obsession and eventually died for love. ......
Dare to ask what love is, and teach people to live and die together. Huang Biyun keeps women in the cage of love, but the struggle for love is only in form. The women in her works spend their efforts on full love and persistent struggle, but what they get is an ambiguous concept of "leaving". So, they either fight against uselessness or struggle to escape from nothingness. On the one hand, Huang Biyun's arrangement shows that she didn't give it ideologically.
Huang Biyun's female writing is often sublimated in the ordinary pain of life. "Behind the bland appearance, there is a strong sense of tragedy. This tragic consciousness stems from the author's description of the Sisyphus-style survival dilemma faced by modern people. " [33] Sisyphus is famous for his cunning and wit. The gods punished him for pushing a boulder to the top of the mountain, but the boulder would roll down the mountain again and again because of its own weight. Sisyphus's survival dilemma refers to this unstoppable but ineffective and hopeless behavior. Huang Biyun's female writing is like throwing women into a dilemma, and this boulder is a figurative love and marriage. They think that as long as they are close to the top of the mountain, they can get liberation and rebirth, but on the contrary, the closer they are to the top of the mountain, the more they can feel their inner anxiety and fear. In all the stories, women's resistance did not happen overnight, but experienced a slow accumulation and fermentation. In this process, women from affirmation to doubt, from raising eyebrows to shouting, from looking around to confusion, as if dancers were dancing with shackles, stretching their soft waist in hope, standing on tiptoe and graceful posture. They thought they would regain the light of freedom, but they woke up in the boundless darkness. In Huang Biyun's works, women's dancing is frozen. She didn't find the key to untie the shackles for women, but she fixed the moment when women struggled to dance. The slender arms stretched out like bird wings and the last flashing eyes before disillusionment were full of tragic beauty.
"In the history of literature, pessimism has always been more profound than blind optimism and praise for life, and it can withstand repeated chewing aftertaste." [34] The process of women getting rid of the shackles and seeking a real way out is doomed to be long and arduous. It is precisely because of this that Huang Biyun's female writing is tragic, while Huang Biyun's "unfinished" is more valuable and weighty than "perfect".
label
Mr. Yan Chunjun mentioned in his article that writers in the world can be roughly divided into two categories. One is "I write Spring and Autumn in my own handwriting", and their works are all concerned with human destiny and social history, such as Lu Xun and Marquez; The other kind of writing basically belongs to "autobiographical biography", which is very good at discovering one's own heart in retrospect and exchanging self-eating and cooking for the nourishment of creation. Huang Biyun belongs to the latter. [35] Huang Biyun's female writing can be said to be self-writing to some extent. Huang Biyun danced flamenco, and the woman in her hand danced with tears and blood. She wrote with an eyebrow, and all she thought about was "a woman with an eyebrow."
Brief description
About women in Huang Biyun's works?
Abstract: Huang Biyun, an unknown female writer in Hong Kong, is young and experienced. Her works are full of complicated opinions and pessimistic attitudes. At the same time, the description of women in her works is also full of strong personality. She speaks for women from a unique female perspective, with the attitude of a confident woman and the same passion as flamenco dancing.
Keywords: female image; Flounder; tragical
Precautions:
Sun Yixue, Chen Tao. Repetition: A Wonder of Huang Biyun's Novels [J]. Contemporary Writers Review, No.2, 2007
[2] Huang Biyun. She is a woman and I am a woman [M]. Taiwan Province Province: Taiwan Province Wheat Field Publishing House, 1994
[3] Huang Biyun. She is a woman and I am a woman [M]. Taiwan Province Province: Taiwan Province Wheat Field Publishing House, 1994
[4] Huang Biyun. She is a woman and I am a woman [M]. Taiwan Province Province: Taiwan Province Wheat Field Publishing House, 1994
[5] Huang Biyun. She is a woman and I am a woman [M]. Taiwan Province Province: Taiwan Province Wheat Field Publishing House, 1994
[6] Huang Biyun. She is a woman and I am a woman [M]. Taiwan Province Province: Taiwan Province Wheat Field Publishing House, 1994.
[7] Zhao Xifang. Love and affection in Hong Kong —— Narration and desire in novels before the reunification [J]. Contemporary Writers Review, No.5, 2003
[8] Yan Chunjun. How to get the word "sheng"-first reading (2) [J]. Review and research on Chinese literature in Taiwan Province, Hongkong and overseas,1997 August 15.
[9] Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
[10] Ying Yuli. Never seen a cloud-Huang Biyun's novel world [J]. World Chinese Literature Forum,1May 1998 15.
Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
Huang Biyun. Don't love [M]. Taiwan Province Province: Datian Publishing House of Taiwan Province Province, 200 1 year.
[14] Dai on the tragic consciousness of Huang Biyun's novels [J]. World Chinese Literature Forum, 2003,65438+February 25th.
Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
[20] Huang Biyun. May walker [M] Hong Kong: Hong Kong Tiandi Publishing House, 200 1 year.
Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
[22] Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
[23] Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
[24] Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
[25] Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
[26] Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
[27] Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
[28] Jiang. Love to the End —— A Comparison between Love in a City by Zhang Ailing and Love in a Prosperous Age by Huang Biyun [J]. Journal of Huangshan University, 2005, 10.00.20
[29] Ceng Liqin Huang Biyun's Female Writing [J]. Journal of Chengde Teachers College for Nationalities, March 2009,No. 15.
30 Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
Huang Biyun. Later [M] Hong Kong: Hong Kong Tiandi Publishing House, 199 1 year.
32 Huang Biyun. Don't love [M]. Taiwan Province Province: Datian Publishing House of Taiwan Province Province, 200 1 year.
[33] Dai On the tragic consciousness of Huang Biyun's novels [J]. World Chinese Literature Forum, 200365438+February 25th.
[34] Yan chunjun How to get the word "sheng"-first reading (I) [J]. Review and research on Chinese literature in Taiwan Province, Hongkong and overseas,1May 997 15.
[35] Yan chunjun How to get the word "sheng"-first reading (I) [J]. Review and research on Chinese literature in Taiwan Province, Hongkong and overseas,1May 997 15.
References:
[1] Dai on the tragic consciousness of Huang Biyun's novels [J]. World Chinese Literature Forum, 2003,65438+February 25th.
[2] Jiang. Love is at the End —— A Comparison between Love in a City by Zhang Ailing and Dangerous Love in a Prosperous Age by Huang Biyun [J]. Journal of Huangshan University, 2005,101October 20th.
[3] Sun Yixue and Chen Tao. Repetition: A Wonder of Huang Biyun's Novels [J]. Contemporary Writers Review, No.2, 2007.
[4] Yan Chunjun. How to get the word "sheng"-first reading (I) [J]. Review and research on Chinese literature in Taiwan Province, Hongkong and overseas,1May 997 15.
[5] Yan Chunjun. How to get the word "sheng"-first reading (2) [J]. Review and research on Chinese literature in Taiwan Province, Hongkong and overseas,1997 August 15.
[6] Ying Yuli. Never seen the cloud-Huang Biyun's novel world [J]. World Chinese Literature Forum,1May 1998 15.
[7] Ceng Liqin Huang Biyun's Female Writing [J]. Journal of Chengde Teachers College for Nationalities, March 2009,No. 15.
[8] Zhao Xifang. Love and affection in Hong Kong —— Narration and desire in novels before the reunification [J]. Contemporary Writers Review, No.5, 2003