| During the chaotic 1930s,a beautiful,exotic flower,Eileen Chang,bloomed in the literary world of modern China. Her works were mostly beautiful,desolate,solemn and stirring tragedies. From her own life experience,from a female perspective and standpoint, she told one after another tragic stories,depicting beautiful,desolate female images that provoked much thought. Based on that,she reflected and explored the value of lives of women. She pointed out with an original insight that the main obstacle against real female independence was actually in the slave consciousness of the women themselves. However, bounded by her ideological limitation,the background of the time and the environment of the society,Eileen Chang could only "grief for their misfortune and fume for their inaction" without showing women a way towards brightness.In his book The Fallen Corn of Wheat Did Not Die, David Der-Wei Wang regarded Wang Anyi from China’s mainland and Shih Shu-ching from Taiwan as successors of Eileen Chang. Shih considers herself to be a fan of Chang,admitting that Chang’s novels are her "Bible" and that she is deeply influenced by Chang. On the other hand,Wang has strongly repudiated the critics’ view on the similarities between her and Chang. However,since they are both prominent figures of the Shanghai school,both writers with strong female consciousness,and both having writings set foot in Shang Hai and Hong Kong,the similarities and differences between the two has always been a controversy.In this paper,we studied the works of Eileen Chang,Wang Anyi and Shih Shu-ching in depth.Through the tragedy art in their works,the female image in their works,and the thought and exploration of the three in the value of lives of women,we tried to analyze and compare the female world they had constructed.We analyzed the similarities and differences in literary art among the three.We analyzed the influence of Chang on Wang and Shih,how Wang and Shih inherited from Chang’s art,and how they transcended over it. |
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