本文選題：梅娘小說 + 女性形象　； 參考：《東北師范大學(xué)》2014年碩士論文

【摘要】：梅娘像是一枝清新素雅的梅花開放在政治經(jīng)濟(jì)環(huán)境如寒冬般嚴(yán)酷的東北淪陷區(qū)。梅娘不僅是家鄉(xiāng)淪為日本殖民地的親歷者,更用細(xì)膩的筆觸在小說中描繪出當(dāng)時的社會圖景而成為了殖民歷史的記錄者。對于和自身有著相似特質(zhì)的女性,梅娘在作品中給予了更多的關(guān)懷，，因此在作品中眾多有著鮮明特性的女性形象被呈現(xiàn)出來。她們中有勇敢自主的知識女性形象，有慈祥溫暖的母親形象，也有養(yǎng)尊處優(yōu)、性格潑辣的嫂子、嬸嬸等形象。無論哪一種女性形象她們都面臨著艱難的社會生存環(huán)境，是生活在淪陷區(qū)灰色天空下不幸的女性。在這種特殊的創(chuàng)作背景和文化心態(tài)下,梅娘打破了五四以來女性作家單純批判男權(quán)的創(chuàng)作模式，將更深刻的殖民壓迫潛移默化的鑲嵌到文本中。 后殖民女性主義理論具有極強(qiáng)的批判性和指向性，揭示了殖民地區(qū)殖民侵略與男權(quán)制強(qiáng)權(quán)相互勾結(jié)對女性造成的重壓并力圖解構(gòu)女性作為第三者的邊緣地位。本文首先從梅娘創(chuàng)作時期的社會歷史語境進(jìn)行了描述。上世紀(jì)四十年代的東北正處于被日本侵略者占領(lǐng)殖民的壓抑時期。這種政治文化背景使梅娘小說中的女性生存狀況更加惡劣。梅娘將自身成長經(jīng)歷也自然的融入了作品中。然后重點(diǎn)將后殖民女性主義作為理論基礎(chǔ)解析梅娘小說中的女性形象。作品中的“屬下”女性面臨的是傳統(tǒng)男權(quán)與殖民霸權(quán)的雙重壓迫，她們努力改變自身處境，希望克服邊緣化,而在尋求自我解救的道路中仍然被艱難的外部環(huán)境控制，其自身難以改變軟弱性也阻礙了前進(jìn)的步伐。最后主要總結(jié)了梅娘小說中女性形象的獨(dú)特魅力與價值。梅娘運(yùn)用“百納被”的敘述模式和瘋狂“獨(dú)語”的書寫方式使作品頗具可讀性，象征和諷刺手法的運(yùn)用則增強(qiáng)了小說的內(nèi)涵性。梅娘小說為我們展示了豐富多彩的女性形象世界，通過后殖民女性主義理論進(jìn)行解析開辟了新的批評空間，也有助于讀者進(jìn)行更深入的思考。
[Abstract]:Mei Niang is like a fresh, plain plum blossom blooming in the harsh northeast enclaves of the political and economic environment. Mei Niang is not only a native Japanese colony, but also a writer of colonial history. For women with similar characteristics, Mei Niang gives more care in the works, so many female images with distinctive characteristics are presented in the works. Among them are brave and independent images of intellectual women, kind and warm images of mothers, and images of respectable, virulent sister-in-law, auntie, and so on. No matter what kind of female image they all face the difficult social living environment, they are the unfortunate women living under the gray sky in the enemy-occupied area. Under this special creation background and cultural mentality, Mei Niang broke the creation mode of female writers criticizing male power since May 4th Movement, and imbedded more profound colonial oppression into the text. The postcolonial feminism theory is highly critical and directed, which reveals the pressure on women caused by the collusion of colonial aggression and patriarchal power in colonial areas and attempts to deconstruct the marginal position of women as a third party. This paper first describes the social and historical context of the creation of Mei Niang. Northeast China in the 1940 s was repressed by Japanese aggressors to occupy and colonize. This political and cultural background makes the living conditions of women in Mei Niang's novels even worse. Mei Niang also naturally incorporated his own growth experience into the work. Then focus on post-colonial feminism as the theoretical basis to analyze the female images in Mei Niang's novels. The "subordinate" women in the works face the double oppression of traditional male power and colonial hegemony. They try to change their situation, hope to overcome their marginalization, and are still under the control of the difficult external environment in the path of seeking self-salvation. Its own difficulty to change its weakness also hindered the pace of progress. Finally, it summarizes the unique charm and value of female images in Mei Niang's novels. Mei Niang makes the works readability by using the narrative mode of "Bonas" and the way of writing crazy "monologues", while the use of symbolism and satire enhances the connotation of the novel. Mei Niang's novels show us a rich and colorful world of female images, open up a new critical space through post-colonial feminist theory, and help readers to think more deeply.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：I207.42

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