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薄命才媛樋口一叶(1872—1896)是日本近代文坛大放异彩的女作家。她以独特的女性视角在作品《浊流》《十三夜》《自焚》《里紫》中塑造了一批在不如意的婚姻中或逆来顺受、或屈服妥协、或消极反抗、或背叛出逃的妻子形象,同时也生动形象地刻画出了各式各样的丈夫形象。他们有的花天酒地、毫无责任心,有的虚情假意、老谋深算,有的外表时尚、内心保守,还有的用情专一、爱妻顾家。从中我们可以看到日本明治社会残留的男尊女卑、夫权至上等封建婚姻家庭制度及其思想观念。丈夫有着与生俱来的男性优越感。丈夫可以随意纳妾、寻花问柳,而妻子必须从一而终。封建家长制的余威,独断专行的夫权,不平等的法律制度,把女性置于社会和家庭的最底层。按父母之命、媒妁之言缔结的婚姻,因为没有建立在男女双方的感情基础之上,所以很容易造成不幸。
The fate of ladies Ikukaguchi (1872-1896) is a brilliant writer in Japan’s modern literary circles. From a unique perspective of women, she created a series of wives who came or fell in love, or gave in to compromise or passive resistance, or betrayed and flee in the works “Zuiliu”, “Thirteen Nights”, “Self-immolation” Image, but also vividly depicts the image of a wide range of husbands. Some of them spend so much time, no sense of responsibility, some hypocrites, wily, some look stylish, conservative, and the use of affectionate, wife and family. From which we can see the remnants of patriarchal women and men in the Meiji society in Japan and their feudal marriage and family system and their ideological concepts. Husband has an inherent sense of superiority of men. Husband can concubine concubine, looking for flowers, and his wife must come to an end. Feudal patriarchal monarchy, arbitrary and arbitrary husbands, and unequal legal systems, placing women at the lowest social and family levels. Marriage, concluded on the basis of the orders of the parents and the media, can easily cause misfortune because it is not based on the feelings of both men and women.