A Study On The Image Of Men In The Novels Of Post-70s Women Writers

This paper selects "post-70s" women writers as the research object,and analyzes how they make collective choices and construct their own identities in the new century after the exit of "beauty writers" in the 1990 s,based on the background and characteristics of the group.The "post-70s" women writers are different from the feminist gender criticism and resistance of the "post-60s" women writers,and from the seemingly radical but patriarchal "phallus worship" of Wei Hui and Mian Mian."Their gender stance is neutral and transcendent,and their writing is pluralistic and everyday."The post-70 s women writers are more humanistic intellectuals.With the help of "gaze" and "other" theory,this paper explores the male images in the works of"post-70s" women writers,analyzes the presentation of their male images and the reasons behind them,and explores these male images in greater depth.In addition,we will explore the uniqueness of the "post-70s" female writers among the whole "post-70s" writers group,and the gender demands and positions hidden behind these male images,as well as the uniqueness of the "post-60s" and "post-80s" writers groups."The article is divided into three parts.In the introduction section,the reasons for choosing this thesis and the significance of the research on this topic are explained,and the current status of research on post-70 s women writers is summarized by compiling relevant literature on post-70 s women writers.The first chapter summarizes the transformation and identity choices of post-70 s women writers after the new century,explains their common identity background and group characteristics,clarifies the research object of this paper,and the uniqueness of the male image in the novels of post-70 s women writers.The second chapter starts from the "other" gaze,which distinguishes the "other" gaze of the "post-70s" women writers from the "self" gaze of their predecessors.The "other" gaze of the "post-70s" women writers is different from the "self" gaze of the previous generation of writers,which refers to an authoritative,external,and prescriptive gaze;the "other" gaze of the "post-70s" women writers transcends rooms and bars and covers the city and countryside.They accept the "other" that cannot enter the imaginative space of women writers such as Lin Bai Chen Deng and Wei Hui Mian-the broader space of urban and rural areas,presenting us with the reality of men’s existence in urban and rural spaces;the third chapter starts from gazing at The third chapter starts from gazing at the "other" and takes the perspective of power,where the "other" refers to the fact that men become the "other" in the novels of the "post-70s" women writers,becoming the "other" and the gazed at.The "other" here refers to the fact that men become the "other" in the novels of "post-70s" women writers,becoming the gazed party,the vulnerable party,and they show the wear and tear and deprivation of male character in all aspects."The fourth chapter is a synthesis of the first two,which is developed under the ethical perspective." On the one hand,the post-70 s women writers still insist on the critical portrayal of fatherhood(as the "other");on the other hand,they hope to complete the search for themselves in the search for their fathers(through the eyes of the "other").On the other hand,we hope to complete the search for ourselves in the search for our fathers(seeing through the eyes of the "other"),and to complete the construction of the subject of the self in the process of seeing and looking at the "other" through the eyes of the "other";Chapter 5 develops in a comparative perspective,describing the rationality and limited nature of the "intergenerational comparison".In the comparison,we can see more clearly the uniqueness of "post-70s" female writers in the position of intergenerational change.The concluding section points out that post-70 s women writers have "transcended themselves" and "gone to others",relieving the oppressive gaze and placing women’s writing in a broader realistic space.At the same time,it shows the humanist intellectual stance of the post-70 s women writers and their anxiety of modernity in gender construction.