On Female Images In Modern War Narrative (1894——1949)

Under the foundation of feminism, nationalism and democracy theory,(Under the theocratical basis of feminism, nationalism and democracy)this paper strives to comprehensively systemize the female images in war narrative from1894to1949, to clarify the methods and process of authors in different period and region, male or female, when creating those images and to disclose how(do) war, race, culture and other factors restricted the female survival, and in what way does this restriction participated in the postwar cultural construction, so as to open up a new way of reflecting on modern woman’s movement. The paper can be divided into seven parts:The introduction part presents the reasons, object and purpose of the research as well as and train of thought..Chapter one is a general overview on war narrative from1894to1949from the perspective of women. The war narrative styles in late Qing dynasty, the May4th movement period, and the1940s share different focus while have contact one another. Late Qing dynasty (emphasized on)pursues the value of nationalism; the May4th movement, of individualism; and the1940s combines both nationalism(include class struggle) and individualism. In the above three stages, women are involved in all the way, acting as a important part in national discourse/utterance of the late Qing(dynasty),(in) individual discourse/utterance of Fourth Movement and diverse discourse/utterance in four-ties. In this process, women gradually deepened socialized character became accord with the multiple pursue of modern (national) country, giving a potential trouble of internal crisis in women socialized/individualized course.Chapter two carries out to discuss the forming of "female of crisis"in modern war narrative. In this paper,"female of crisis"means women absorbed and transformed by nationalism. Having the highest degree of socialization, it is formed by control and adjustment of moral subject construction as well as gender simulation and collision. Gender simulation have established the heroine image spectrum which has implication weakening genders in20century. Besides, moral subject construction is mainly used for the transforming the role of traditional mother. For instance,"the National mother" indicates the distinct moralistic tendency of nationalizing mothers. Moreover, control and adjustment of moral subject construction are mostly displayed by "self-destruct" and "interpretation" when women deal with/dissolve emotional conflict, with the above two methods have no specific distinction.Chapter three analyzes the creating process of "non-women"in modern war narrative. In this thesis,"non-women"means women in war who struggle between the individual survival and nationalist conflict. The conflict results from women’s contradiction between personal sentiments and nationalism, for both have justice ethics which bring "non-women" into dilemma in the war despair. Another conflict whether their bodies belong to themselves or not when required by nationalism. Most "Non-women" tend to nationalism from which the spiritual loss reveals the falsity and inner plight of nationalism integrity for nationalism’a incapability on providing useful physical and spiritual compensation.Chapter four analyzes the constructing process of "edge female"in modern war narrative."Edge female"in this article refers to women away from nationalism. They have the lowest socialization, with "housewives"as typical cases."Anti-enlightenment"and "family characteristic"is the existing way as well as forming reason of "edge female". Works in different regions show that there have active and passive formations, which indicate the edge position of "edge female" is not completely the same. It is mostly influenced by politics. The edge position of "edge female"in culture system determines their survival tragedy. However, the existence of "edge female" challenge the mainstream ideology and shows the variety and complexity of women’s living conditions in war.Chapter five mainly analyzes the characteristic and its influences of the female images in modern war narrative. The formation of "female of crisis"indicates the consistency(or ethicality, attributing feature)and violence(or systematization) between women and their belonging system. Those feature shows the special way that benefits the male dominance. Nevertheless,"non-women" and "edge female"appear to be more of tragedy as they bear the "double violence",which illustrate the way gender of war system strengthens gender oppression. In addition, it is the relation between those three types of women and social system that determines their distinct living conditions and shows the function of war on increasing the degree of social hierarchical level of women. In general, the effect of shaping female images in modern war narrative is that it embodies the importance...It can not only effectively explain the formation and distribution of the above three kinds of women, help reconsidering the problem of subjectivity of "female of crisis", who is the main body of the women’s movement, but also indicate the continuous negative effects on women from the war-involved postwar cultural construction and opens up new ideas of gender studies.The conclusion part summarizes and states the innovation and expectation.