A Study On The Urban "Witch Women" Of Chinese Literature In The 20th Century

This paper is to study the relationship between the development of the urban culture and the female image of the urban literature in the 20th century.20th century was a turbulent situation century. Modernism is the basic context in Chinese development. In the transformation of society, women's own moral factors and their changes can be clearly seen, and the content of social change can be more clearly reflected by women. The establishment of Chinese new culture is a very subversive process, especially women's liberation is very extreme. Reflected in the female image are a lot of "witch women" whose words and deeds are contrary to the popular social idea and are not admitted by the traditional moral and ethical appearance. In north China, they are called "zuo nv", In south China, they are called the "witch women". They are constructive, but also have a strong impact and destructive power.In late Qing Dynasty and the early Republic of China, since the initiation of capitalism to provide employment conditions for women, with the influx of western capitalist civilization of freedom, equality, there were a group of "urban free woman" whose key features are freedom and modernity emerged in the works of Zhang Henshui and other popular writers. In late twenty years of the 20th century, Around the modernity organization of the country and nation, Chinese urban civilization go on getting off the old and setting up the new. They constructed another kind of urban civilization with the courage and spirit of revolution. Revolutions constituted a tough culture of shanghai. Revolutionary girls went on body carnival with revolutionary passion. They deduced urban civilization of twentieth century by their charm, magic and the character of god. In thirty or forty years of the 20th century, Chinese reached a new peak in the process of colonial. In the works of Liu Na'ou, Mu Shiying, and Shi Zhecun and so on. There were a group of "urban modern woman", who vividly reflected the city's representation, conveyed the pulse of the city, and expressed the city emotion. Since Chinese new urban culture changed from the modern to the postmodern, the image of urban women in Chinese literature showed a development tracking from construction, deconstruction to reconstruction.The images of "the witch women" show a way to explore, and so they have a significance of spiritual breakthrough. Because the destructive force of urban "witch women" impacted Phallocentrism traditional culture, even in the pioneer attitude of urban writing in the 20th century, they were successfully exiled by men. We can still see opposition situation in man and women. How to achieve sex harmony is still the direction of our efforts.Literature for women undoubtedly is the trend of cultural development, Female image implies the spirit of urban culture, Meanwhile, the female image of the development also shows the Chinese culture direction:Chinese urban culture is developed with material civilization and spiritual civilization, personal, ethnic, national trinity go hand in hand, to co-construction of human civilization.The thesis consists of five chapters in addition to the introduetion and eonelusion Parts.In the introduction, the author analyzes the significance沁modernity construction of female culture and urban culture by the angle of urban "new female" phenomenon and the cultural dilemma on the edge of century, and analysis the statusquo of women's culture, the urban literature, and the urban cultural studies. And it elaborated the relationship between the female images and urban culture too. And names whose words and deeds are contrary to the popular social idea and are not admitted by the traditional moral and ethical appearance by "witch women" in witch culture. Finally, I present the frame and their movative poinis of the paper.The first chapter basically specifies the relationship between the "witch female images" and urbanization, the "witch female images"and modernity, analyzes the reason why the men think of the women by polar type attitude, It represents the strategy of male-centered ruling sequence in order to conquer the women in long-term culture accumulation. At the same time, I affirm the constructive meaning of the city "witch eomen" and their difficult acception in the process of modernization.In the second chapter, I basically introduce the mutual relationship between the enlightening modernity and urban free female In late Qing Dynasty. By the influence of the new culture movement, many youth female accomplished the transformation from traditional excellent women to the mother of commonwealth. They deduced a new urban modern with aggressive stance. Reflected in the popular writer's works such as Zhang Henshui, Li Hanqiu, Wang Zhusheng and so on, it is called "free female" standing in front of the era. They are characters sending out new breath from inside to outside, Including new patterns of behavior and the new mode of thinking, and the overall concept, heroic style, etc. The words and deeds of urban free female expresses the effort to flee from the submitting to the behavior rule of thousands years and rebuilt an new female narrative.Chapter three explores the relationship between the revolution modernity and women in the modern times. Revolution modernity is a kind of rigid Shanghai regional culture in co ntrary with soft style of of Shanghai regional culture. Women in the modern times appeared to after the defeat of the revolution. When the revolution turned to downturns, the fanatic mode in the revolution has accumulated strong enough that they cannot eruption, so revolutionary libid transferenced to women in the modern times in the works of revolutionary writers such as Mao Dun. Along with the changes of ideology, revolutionary writers such as Mao Dun showed clear rheological track in discoursing the body performance in the women of modern times:Because personality liberation is the basic connotation and freedom of the body is the mark of liberation, Revolution of the early modern women tend to treat the body carnival as the revolutionary fervor. Gradually, Revolutionary writers such as Jiang Guangci, Mao Dun and Bai Wei began to eliminate the body pleasures, and let it returned to some original passion, set off to the revolutionary goal toward a new integration. When the class discourse became the overwhelming, the body dropped from objective to tools. The body theme of revolutionary narrative tended to tradition cultural can be seen by a variable regression tendency. The modern women in the urban literature gallery coruscated unique splendour because of the participation of revolution. They showed strong vigorous vitality from outside to inside. Compared with the free female in late Qing Dynasty, They showed "confidence and sufficient energy to cover all". From this kind of character, we can see how the revolution impacted the urban culture, and urban culture rewrite the revolutionary spirit that it turned the revolution to another interpretation. With revolutionary agitation, the modern women kept speculating. But in the revolutionary representation, the traditional essence was still difficult to change.Chapter four focuses on illustrating the inseparabler elationship between the secular modernity, aesthetic modernity and fashionable urban female. In the 1930s, the capitalism of Shanghai developed into mature period. There were a group of "urban fashionable women", who vividly reflected the city's representation, conveyed the pulse of the city, and expressed the city emotion. Women and city form mutual interpretations, "urban fashionable women" in Shanghai reflected the acceptance of western culture. Meanwhile, we can see that even in posture of Shanghai writers, there still contained typical traditional patriarchy-centered narrative discourse.Chapter five analyzes the relationship between the process of urban culture that it seemed construction and deconstruction and reconstruction in the new period and the modernity of t "witch women" of in the edge of the century. In 1950s and 1960s, due to adjust the differences between the urban and rural, and eliminate petty bourgeoisie emotional, the modern process of urban development repressed. Urban culture come to the brink of disappear, the revolutionary binge and the body being a recluse, it became one of the most important features in urban culture of that time. In the new period, city came into another round of rapid development. Urban culture influenced the development of female image construction. Especially some unique "witch women", they introduced the characteristic of Chinese culture turning from the modern to postmodern then regression. In the works of Chen Ran and Lin Bai, the female image with a kind of cultural identity of "pectoral ornaments", it brought the female sex written into the orbit of the rebellion culture, and realized the modern building female culture. In their works, women come to have self-awareness indeed, and so they have their own spiritual gender too. Wei Hui and Mian Mian, the heroines enjoy the lives, it showed a typical postmodern mode. But in the works of Sheng Keyi and MiaoYong etc, the leading character wew tired of the era that it "takes the sex as a gift ", they look forward to the love with romantic and passion, and the family with responsibility and duty, and come to realize "only emotion is the sacred". It can be seen that the postmodern female images trend to cultural regression.The conclusion part firstly states that in the 20th century, the urban "witch women" reflect the suspicion, the courage and creativity of the urban culture. Then I discriminate acceptance in the intellectual women and the urban "witch women", and Interpret the the difference of urban "witch women" between the male and female writer. At last I predict the future direction of the 21st century city culture that we are looking for moral norms.