Breakthrough And Capture

Feminism criticism drew extensively experience from psychoanalysis, existentialism, language analysis, and criticism-solving and constructing, as well as such philosophy and methodology as Marxism prevailing in the West. And a series of theories and opinions which are endowed with forgiving, dissolving and creative nature is put forward, filling in the great blank in the history of criticizing. It restrains the man-center criticism, and combining women's own practical experience, culture, creative writing practice, it also widely launches the literary criticism activities of balance, experience, practicality. Feminism criticism challenge the literature mechanism mainly from the following two respects: First, reviewing male writings and man-center criticism, also called "feminism criticism"; Second, discussing female writers and the traditional and aesthetic characteristics of female writing, also called "femininity-centre criticism". These two respects are to adopt the text that "Males and females should be treated differently"to the reading countermeasure of "revising"and "resisting"to the male writers'texts, and of "woman's an organic whole"to women writers'texts. Chinese Mainland's study on writers'works through the feminism theory, the trial on analyzing the literature text with the thinking mode of the feminism criticism started in about 1990. These works were macroscopic constructions in theory, or a profound understanding of the texts of women , or a close reexamination of the male texts, or an appraisal of women writers as one colony in the history of literature, or an elucidation on female writings'open-up meaning to literary tradition, etc. These works, being full and accurate, are mostly possessed of that macroscopic and deep theory and method foundation, and have been genuinely the fruitful efforts in the female literature study of our country. What deserves to be mentioned is, these subjects of China's female literature study are to basically concentrate on the single style of the novel, mentioning the poetry, prose slightly, and less touching the drama. The present explosion of female literature study on the field of drama is at the starting stage, a bit incongruous to drama, this extensive and profound treasure-house. Some scanty research results for the time being are still not enough to prove that such study has already reached the academic research level of history. In chapter 16, entitled "Women's drama is arising at the historic moment for the question", of "The Development History of Chinese Contemporary Drama Art"by Wang Xinmin, it refers to contemporary women contribution to and characteristics of drama, and briefly analyses several women dramas of Bai Fengxi and some other authoress representatives, but it describes too simply to become the system. Zhang Jundi's "Mythology and Drama----On the mythical prototype in terms of love people and god long for in Chinese drama"expounds mythical prototype impact on Chinese drama in terms of literature spirit and aesthetic shape. He divides the goddesses in the drama of mythical subjects into heavenly goddesses and earthly ones, and divides the women protagonists in the drama of common customs subjects into heroines and victims accordingly. The article, rich in content, announcing the question ingeniously and expounding the fact with deep insights, is of great reference value. However, what this article mainly expounds is the Chinese ancient drama, just mentioning some modern dramas once in a while. Furthermore, the angle and thinking mode that expound the fact do not make the feminism theory a key point. Consequently, systematic consideration of drama study of a certain stage through the theory of feminism is quite deficient at the present time. On the basis of the feminism theory, with the mode of thinking that feminism criticism, and regarding male visual angle as starting point, the article is to explore the chosen female figures moulded in Chinese modern dramas by both male and female writers, to seek out the new meaning, and then construct a thesis by taking the Chinese modern dramas into consideration with feminism theory. The choice of male visual angle is also important. According to hermeneutics and receptive aesthetics, while reading, the visual angle of text is cut in from many aspects, for instance politics, culture, psychology, sex, etc. The visual angle, a starting point of understanding the text, is an extremely important factor orienting readers in the vision. The sex visual angle is one that is covered, ignored in our country's literature, visual angle of culture study, and also a most deficient one which emerged gradually from the researchers'vision until the eighties in the last century. In my opinion, to analyze with the male visual angle writers' works of both sexes have two advantages: First, the inclination of "lesbian"ubiquitous in feminism criticism can be prevented, and the deficiency that "a woman sees a woman"remedied while reading women writers'works; Second, while reading the male writers'works, there is no women readers'simply resisting position. These two points help to understand the intension of the w r i t e r a n d h i s w o r k s m o r e o b j e c t i v e l y a n d j u s t l y . The main view of the full text is in the course that female figures revolt to the man-center tradition in the Chinese modern drama, they get themselves lost in varying degrees because of various kinds of reasons, and in the end captured one after another in the man-center tradition that they resist. The article is divided into three parts. The first part is foreword speaking of the mode of "deserted wife"in both eastern and western dramas, because such an old mother mode includes the culture gene that the mankind own in common. Women's rebellion against man-center tradition since ancient times is all ended with tragedy, and in Chinese modern drama female figures also agree the ancient echo in their rebellion against man-center tradition. The second part is the detailed analysis of women's revolt against man-center tradition in such aspects as family, love, right and power as well as career separately with consequent subtitles as "Fleeing and Feeling Hazy –Women's resistance against family oppression", "Craving and Being Destroyed –Women's ideal and disillusion in love", "Appealing and Getting Bewildered--Women's requisition for right and power", "Hovering and Feeling Heavy --Literate women's leap over and being obstructed in their career". The third part is concluded with the subtitle "No More Breakthrough and No Longer Being Captured –The construction of a harmonious relation between men and women". Based on the explanation of women's capture in their revolt against man-center tradition, it probes into a general plan of constructing a harmonious relation between men and women.