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三十年代初,有论者将文坛上几位女作家分为闺秀派(冰心、绿漪)、新闺秀派(凌叔华)、和新女性派(冯沅君、丁玲)三类。笔者认为这种划分很恰当的体现了凌叔华作品的特色:新颖且又受到传统文化的影响,故称之为新闺秀派。本文拟从她的两个文本入手,来分析她新闺秀派作品的“新”在何处。凌叔华作为受五四新文化运动影响的新一代知识女性,文学创作以及个人的思想都具有一定的先进性。但由于作者本身处在中产阶级,对于传统礼教思想的反抗并没有那么彻底,使得她的文学作品有着明显的特征——新与旧的矛盾十分突出,她这种矛盾的
In the early 1930s, some scholars divided the literary female writers into three categories: female school (Bing Xin, Green Yi), new female school (Ling Shuhua) and new female school (Feng Yuanjun and Ding Ling). I think this division is very apt to reflect the characteristics of Ling Shuhua’s works: new and influenced by the traditional culture, it is called the new lady school. This article intends to start with two of her texts to analyze where the “new” of her new genre works is. As a new generation of intellectual women influenced by the May Fourth New Culture Movement, Ling Shuhua has some advanced features in literary creation and personal thought. However, since the author is in the middle class, his resistance to the traditional ethics of ritual and ethics is not so complete, making her literary works have obvious characteristics - the contradiction between new and old is very prominent, and her contradictory