Imaginary Writing And Marginal Reading: Analysis To Gender Consciousness Of Chinese Modern Male Authors

In the research of Chinese modern literature, the gender consciousness is the field which urgently waits to be discovered and combed. It is the gender unconsciousness for a long time in the study that influences the rationalization of the text explanation and the literature history construction. Proceeding from the gender standpoint, the dissertation borrows the feminine literary theory and the narrative analysis method. Objectively, realistically, fairly and justly, the author cuts into Chinese modern male writers'individual life and the written text (By novel primarily, refer to both few plays) from a new point of view. Through the inspections of their personal lives,the creations and the criticism, the paper analyses the male authors'gender expressions, such as feminine ideas and masculine thoughts, sexual relations and image molds, plot patterns and character types, together with various literary aspects. By discovering and recognizing the discourse power in the each kind of story, the thesis not only excavates the contradiction between their external idea and internal consciousness, but also opens an explanative and critical level which has been always folded by the paternal culture. By stating above all, the thesis takes its name as"imaginary writing"and"marginal reading".The introduction defines what"imaginary writing"is of Chinese modern male writers, which is the made-up imagination and narration of the image of women in their literary works. This "imagination" shows many aspects: First, an alienation writing to the image of women; Second, an unfamiliarity and misunderstanding of female subjectivity; Third, a tool using of women intensions. Then the thesis analyzes what"marginal reading"of women is: first being a"critical reading", the female reader should be conscious of changing from an"assenting reader"to a"resisting reader"; Second, being a"deconstruction"behavior, which means deconstructing the authority interpretation to the classical texts. For the literary criticism, the relationship between gender and literature has always been an awareness of blind spots, so the paper has cleared the Sex and Gender as two terms in more details. Based on the introduction of related research in China, the paper limited its study scope: the time period is of Chinese modern literature; abandoning female literary texts while specializing in the interpretation and introspection of male writers'works, especially the"expression""action"and"narration"of modern classic male writers; summing up their in-deep male collective unconscious as the"historical intermediates". The paper intends to"the re-reading"and"the excavation". With the help of a full and accurate inspection to the reality and the text, it wants to discriminate the paternal limitation of modern male writers' and the imagination color that they created to the female images. The aim of this academic paper is to respect the gender and the individual difference in the words and reading and provide a cultural visual threshold for the literature research on the base of multiplicity and equalization.The first chapter collates and interprets Chinese modern male writers'"expression"and"action". In section I through combing Chinese modern elite intellectuals'statements in the women's liberation movement, the potential significance level of its scale of man values is discovered. Transforming from the"women's liberation"to"emancipating women"subtly, Chinese modern women's liberation is actually a male-subjected, a male-based movement. In Section II Chinese modern male writers'struggle between the traditional consciousness and modern culture in their love and marriage is expressed, which fully embodies the values of sexual relations. Through combing the criticism of famous modern male literary critics to female works, including the pattern of relationships between them, the third section sums up a lot of potential gender consciousness. In the field of modern literary criticism, there is some hierarchy of gender consciousness----not only the standards and methods of criticism have been"gendered", but also the purposes of criticism have.The second chapter is the key part of the paper, which further introspects and deconstructs the deep consciousness in the superficial texts of Chinese modern male authors'narration from the four-round.Section I discusses and analyses their female characters. Women had been in a passive position in the literary expressions in history and this fact also exists in Chinese modern literature. Modern men writers had created all sorts of female images vividly, but they had always been in a kind of"being watched", "being said","being used"state actually and passively. It is in these passive female characters that we have seen the same vestiges in the both new and old narrative rooted in the male-centered consciousness.Section II discusses and analyses their character types. In the modern male narrative, men and women play the different roles in the texts. Firstly, the paper makes a conversion of concepts, including re-definition of the relationship between them and conforming two opposite character concepts of Narrative into one place. Then it demonstrates that male characters are mostly"psychological"ones while the female characters are"functional"symbols with the specific text analysis. The latter had become the target of male desire or confirmation of their self-definition with the features of"object","superficiality"and"materialization"in the descriptions. This narrative structure and favoritism imply significant gender discrimination.Section III discusses and analysis their sexual relations. The thesis presents that it is difficult to find equal and harmonious relations between the sexes in the narrative of modern men writers, on the contrary, is common between men and women interact in a binary opposition–"help"and"destroyed". The absolute subject and the theme of this relationship must be men, while women in their lives, or as a hand of support on the road, from the real life, bodily desire and spiritual pursuit to meet more men interests and needs; or as the door of destruction in their experiences, from the social status, self-will and self-esteem to be dragged into hell. This pattern reveals an implicit one-way relationship in the aesthetic, an actual defense of the traditional gender order.Section IV discusses and analyses their plot patterns. The paper selects three plot motifs with high frequency from the texts of modern male writers: Departure, Growth and Chastity. With the comparison and research of texts, it summarizes some superficial features and deep potential in the narrative strategies and arrangements of modern male writers. For example, the descriptions for the male characters'"Departure"are more inclined to social, political and historical, while women account for the"Departure"mode is more inclined to individuality, emotion and even predestination; In the"Growth"mode of male writers, a large number of female images are dealt with"masculine"narrative strategy; And the utilitarian differentiations and evaluations to female"Chastity", etc. All these point to the dominant ideology of patriarchy in our culture that formed deep in the persistence of"gender unconscious."In the conclusion part, the paper once again sums up many differences existing between the modern male writers'deep gender consciousness and their superficial ideas and declarations of gender. In the early 20th century, within the great social and historical and cultural context, Chinese modern male writers'gender consciousness should be a matter of four different effects. First, accompanied by the spread of the communist ideology, proletarian view of women from the Soviet Union; Second, accompanied by European and American culture, concept of feminism from the Western; Third, accompanied by the rise of modern Japan, Japanese culture view of women in contact; The fourth is the most important, Chinese traditional culture view of women for thousands of years. Together they constitute the complexity of gender consciousness of Chinese modern male writers, making them far beyond the realm of freedom from the traditional bias and the male-centered reach.