Research On Criticism Of Chinese Modern Female Writers And Their Works

From the literary revolution in 1917 to the first National Literary Congress held in July 1949,it is generally defined as the period of modern literature in the history of Chinese literature.This thesis takes the synchronic criticism of female writers and their works by the critical subjects in this period as the research object.Thirty years in modern Chinese literature in the context of history and reality,the thesis first comprehensive carding and overall reflection on the criticism of Chinese modern female writers and their works,and then from the identity of criticism subject,to further explore the main viewpoint of the criticism,pattern and method,to analyze its value and limitations,in an effort to perfect the criticism research of Chinese modern female writers and their works on the integrity and subjectivity,to promote Chinese female literature criticism theory system construction and the development of the contemporary literary criticism.This thesis is divided into six chapters,as follows:In the first chapter,the introduction part firstly defines the research object of this thesis and introduces the reason of the research.Then,it summarizes the general situation of the research on the criticism of Chinese modern female writers and their works in the academic circle so far,and finds that there is still a lack of research results of integrity and subjectivity,so as to determine the research purpose,train of thought,methods and significance of this thesis.The second chapter sorts out the literary history of the criticism of Chinese modern female writers and their works,and Outlines the overall context of the creation and criticism of the works of Chinese modern female writers.From the period of the literary revolution to the failure of the great revolution,the first group Chinese modern female writers and their literary creation rose,then the Chinese modern female writers and their works' criticism was born with the characteristics of the occurrence period,that is,the criticism mainly focused on a few female writers such as Bing Xin,the perspective of criticism was relatively single,and the criticism mainly stayed in the stage of perceptual cognition.From the Great Revolution failed to the outbreak of the Anti-Japanese War,the Chinese modern female writers and their works criticism's development is very prosperous,as the main body in the criticism of a more professional,more mature modern criticism consciousness,the theoretical and more systemic,criticism Angle of view more open,various professional criticism results up;From the outbreak of the Anti-Japanese War to the first National Literary Congress,because of the war,critics and female writers were divided in the kmt-controlled area,liberated areas and enemy occupied area,literary creation and criticism were showing their regional characteristics.In the liberated areas and the kmt-controlled area,the criticism of Chinese modern female writers and their works is weaker Compared with the second decade,in the enemy occupied area,the criticism of Chinese modern female writers and their works mostly avoided the war and political reality,pay more attention to the criticism itself.The third chapter investigates the identity characteristics of the criticism subject.The first decade,the Chinese modern female writers and their works' criticism subject formed the core of relatively stable relatively consistent identity of modern intellectuals,the subject's modern intellectual identity make the Chinese modern female writers and their works' criticism permeat with the passion to transform reality,with the shocking force of sincere voice,although the position is different,style each different;With the ebb tide of the May 4th New Culture Movement,the criticism subject's identity in the second decade gradually diverged,which could be divided into revolutionaries,left-wing critics and liberalism critics,and they showed their own identity consciousness in their criticism;In the third decade,affected by the war,the critics were divided in three different political areas,in the kmt-controlled areas,the critics' life drift from place to place,in the liberated areas,the critics accepted intellectuals identity transformation,and in the enemy occupied area,the critics' intellectuals identity suppressed,formed by the May 4 movement period of Chinese modern intellectuals identity in general tend to be weakened;In the thirty years,the constant is gender subject status,the criticism of male gender identity subject has implied authority of gender culture identity,and the critics with female gender identity in the face of female writers and their works,showed the deep empathy or showed severe rejection,implies a feminine gender identity anxiety.In the fourth chapter,the thesis further studies the criticism's viewpoints formed by the criticism subject in the active criticism practice of Chinese modern female writers and their works.In the first decade,modern intellectual criticism subject at a consistent identity for Chinese realistic problems in the process of the evolution of social history is full of passion and courage of challenge,to pursue the complete liberation of "person",to realize the external and internal free essence of "human",to import a large number of all kinds of literature and art theory,the criticism concept of realism and the romanticism criticism concept were favored by the criticism subjects with different identity consciousness tendency,but the modern female literature criticism viewpoint is in a position of missing;In the second decade,with the differentiation of the identity of the modern intellectual of the critical subject,the literary concept that was basically agreed upon during the May Fourth Movement disintegrated.The revolutionaries and the left-wing critics adhered to the Marxist criticism concept,while liberalism critics were guided by the liberalism criticism concept.New literature camp is held different literary concept of intellectuals split into factions,each faction all further explore sexual characteris of the female writers and their works,female writers and female critics also noted that the relationship between literature and their gender,makes the feminine literary criticism theory into the gestation period;In the third decade,in different political area,criticism subject with different identity consciousness formed different concept of literary criticism,kmt-controlled area mainly formed propaganda resistance against Japan criticism view,liberated areas mainly formed criticism view of "new democracy",and enemy occupied area appeared the buds of Chinese native feminism criticism theory.The fifth chapter studies the two critical models of contextualist and experiential criticism of Chinese modern female writers and their works.The contextualist criticism model focuses on the close relationship between the works of modern female writers and the factors of "race","environment" and "times",while the experiential criticism model focuses on the inner experience of critics when they face the works of modern female writers.Among the critical viewpoints of the criticism of Chinese modern female writers and their works,which emphasize literature's reflection and promotion of social and historical values,adopt the mode of contextualism,while romanticism and liberalism,which emphasize literature's inner expression and pursuit of free aesthetics,adopt the mode of experiential criticism;The male critics of liking grand critical discourse mostly adopt the contextualist criticism mode,while the female critics who tend to personal critical discourse prefer the experiential criticism mode.In the process of concrete criticism,the criticism of Chinese modern female writers and their works mainly uses such critical methods as "knowing people and discussing their works"," perceptive and poetic","comparative and analysis".The chapter six discusses the value and limitation of the criticism of Chinese modern female writers and their works.The value is mainly reflected in the profound influence of criticism on the direction of Chinese modern female writers' creation,and objectively promotes the classic process of modern female writers and their works in the history of literature;in the criticism,the "subjectivity" with identity characteristics is publicized,and a criticism state of "presence" of the subject is maintained,in this process,the characteristics of Chinese modern literary criticism,such as experiential and practicality are embodied,which as the "Chinese experience" of criticism has important enlightenment and reference value to Chinese contemporary literary criticism;the criticism has produced the sprouting of Chinese feminist criticism theory,which can be used as the foundation of the theoretical system of Chinese female literary criticism.The limitations of the criticism of Chinese modern female writers and their works mainly lie in the patriarchal thought of some male critics and the estrangement of their gender experience in the criticism,which hinders the growth of Chinese modern female literature and criticism theory.