論張愛玲〈傾城之戀〉中的「流蘇出走」

本文聚焦於張愛玲〈傾城之戀〉的女主角白流蘇的三次「出走」，探討張愛玲如何通過小說創作回應從五四時期Henrik Ibsen的《玩偶之家》翻譯進入中國以來對於「娜拉出走」這一女性自覺議題的討論。此外，我們也參考了魯迅對於「娜拉出走」的回應，以及法國女性主義者Simone de Beauvoir關於「女性自覺」的主張，反思小說中「流蘇出走」的現實意義。事實上，白流蘇的「出走」就其作為一個女性而言是失敗的。關鍵在於他並沒有經濟獨立的能力，也並非作為一個獨立的人「自覺地」走出象徵父權的家的箝制。這是「流蘇出走」的侷限，也是那一個時代多數女性共同的侷限。小說的最後有意地經營了「城市陷落」的情節，成全了白流蘇的愛情。然而這個富有「傳奇性」的結局並不能直接理解為「大團圓」，其背後所反映出的，實為「流蘇出走」的侷限性。

關鍵字

張愛玲；傾城之戀；出走；娜拉；白流蘇

並列摘要

This article focuses on the three departures of Bai Liusu, the fictional heroine of Eileen Chang's novel ＂Love in a Fallen City＂, and explores how Eileen Chang responded to the issue about female consciousness of ＂Nora's departure＂, which was discussing from the May Fourth Movement period when Henrik Ibsen's A Doll's House was translated into China. In addition, we also refer to Lu Xun 's response to ＂Nora's departure＂ and the French feminist Simone de Beauvoir's proposition on ＂ female consciousness ＂ to reflect on the meaning of ＂Bai Liusu's departure＂ in the novel. Actually, as a woman, Bai Liusu's ＂departure＂ was a failure. The point is that she does not have the ability to be financially independent, nor does she ＂consciously＂ step out of the restraint of a family that symbolizes patriarchy. This is the limitation of ＂Bai Liusu's departure＂, and it is also the limitation shared by most women in that era. At the end of the novel, the plot of ＂ Hong Kong bombing＂ which is deliberately managed fulfills Bai Liusu's love. However, this ＂legendary＂ ending cannot be directly understood as ＂happy ending＂, and what is reflected behind it is the limitation of ＂Bai Liusu's departure＂.

並列關鍵字

Eileen Chang ； Love in a Fallen City ； departure ； Nora ； Bai Liusu

國際替代計量

論張愛玲〈傾城之戀〉中的「流蘇出走」

全文下載

主題瀏覽