女性

As a formed writer with female idea, she look forward to female can riddance various binding of history., cultural,, physiological., psychical and become free female and have a good life. She wasn"t according to apotheosize female"s condition, she noticed that money shift females fate and naticed to flesh shift fate by themselves.

张爱玲认同、接受女性的性别角色，但并不以神化女性为条件，张爱玲的女性意识是女人而女性的；张爱玲注意到了都市社会中金钱对女性命运的奴役，同时也注意到女性情欲对自己命运的役使，在张爱玲的作品里，性之于生命，就象饮食一样重要，性与爱天然地存在于女性的天性里。

In correspondence with the understanding of the meaning of woman's emancipation, concerning the problem of the way of woman's emancipation, feminism in the early stage of Neo-Cultural Movement emphasizes particularly that woman should get equal rights and opportunities respectively in education, profession, politics and heirdom etc. Feminism in the later stage of Neo-Cultural Movement leads woman's emancipation to the way of class warfare and social revolution.

与对女性解放涵义的理解相应，在女性解放的道路问题上，新文化运动前期的女性主义侧重于探讨女性在教育、职业、参政、继承权等方面获得与男性同等的权利和机会，提升女性人格，唤起女性的觉醒意识；新文化运动后期的女性主义则将女性解放引导到阶级斗争、社会革命的道路上来。

New Feminie 男权制文化Male supremacy culture self-awareness自我意识角色失调role incongruence 伤逝harm to die 创作思想creative ideas 封建旧观念old feudalism 幻灭evanescence 女性主义feminism Abstract: In Xun Lu's novel "harm to die ",the imagine of Zi Jun is an advanced sign in the author's creative creative ideas. As a new feminie, Zi Jun took upon herself to pursue her free love in her ideality regardless of the shackles of old feudalism,but resulted in evanescence.

帮忙翻译下以下的摘要和关键词，不要在线翻译工具翻译的，不准确，谢谢摘要：鲁迅的《伤逝》中，子君的形象是作者创作思想上一个超前性的标志，作为"新女性"的子君，她不顾一切冲破封建旧观念的枷锁，毅然去追求自己理想中的自由爱情，但最终以"幻灭"而告终。

Water margin,that a work dedicated to masculine has always been highly appreciated.yet,it is beyond any doubt that the book presents a biased and even unjust feature of the feminine .there are few women personages in water margin which can be divided into two kinds briefly: namely "lady of easy virtue" and "heroine".novel go on two extremes overly that women'figure was denied impersonal role maid image mould either "bad" or reach "manlike " so that they cant cross to two description of woman these because the writer was intended or involuntary to describe them these.consequently the women' figure maked untrue exceedingly as to the lady of easy virtue write it to the limit excessively ruthlessly poisonously ; as for heroine write its walk chivalrous and loyal to the limit that the woman wasn't defeated by men.the female extreme image was pointed out that the intention of author come from the influence of the super male consciousness to a certain extent and it is inevitability because of masculine being in charge of linguistical power ,in fact, the appearance of women was just only minor role in order that the hero world need to regard man as the centre too.in a word womens destiny in water margin is a miserable foregone!

水浒传》是1部以描写男性英雄为主的名著，历来受到较高评价。然而，作品在女性形象塑造时存在的偏颇甚至不公正却是毋庸置疑的。《水浒传》中的女性人物屈指可数，主要可分为两大类：1是所谓的荡妇恶婆；2是所谓女英雄。作家在对这两类型女性的描写时，都因作者有意或无意的女性意识而走向极端化，实际上是走上了两个无法交汇的极端，使女性形象的塑造过于偏激，不是"淫恶"到极端，就是"男性化"到极点，写淫妇恶婆，写尽其淫，狠，毒；写女英雄，则写尽其行侠仗义，巾帼不让须眉。这种极端化的女性角色定位，既是作者男权意识的自然反映，又是男权社会男性话语权的必然呈现，说白了，出现在《水浒传》的女性不过是点缀和突出男性的生活，是为表现父权制男性英雄世界服务的。

This part analyzes their psychology experience, wide-accepted Language and female's living situations as well, emphasizing their new creative view, that's concerns about their own fate. The second part emphasizes the characteristics of their images in their writings: sing high praise for females and resist to the male society.

这部分主要就女性心理、女性经验与公共话语、女性现实等方面进行分析，突出女作家创作的新视点，即对个人命运的关注；第二部分从女性神话与现代巫女两个方面突出女性写作中女性形象的特点：对女性的歌颂和对男性社会的反叛。

Chapter Five An analysis on the narration methods from the angles of women'slanguage and discourse is presented.women's language representswomen's constrained and disseminated state of existence,and thus analysisand examination on women's language is made through the following fiveaspects:1constrained and evasive language;2struggling language in thediary-style novels;3communicative language in the letter-style novels;4caring and revealing language in the autobiography novels;and 5satiricallanguage that insert in the slight crack.

但笔者更多着眼于现代女性小说中的女性语言反映女性被压抑和异化的生存状态。进入现代社会，尽管女性获得了话语的权利，但女性的语言和话语方式很难冲出她们的生存牢笼。本文中的"女性语言"不仅成为展开叙述的基本因素，更重要的是在现代女性小说中，它呈现出女性的话语方式与现实之间的两难困境。在这种基本前提之下，本文分五个部分来分析现代女性小说中的女性语言，从而比较中韩女性小说的叙述方式：一、禁闭与躲避的语言；二、日记体小说中挣扎的语言；三、书信体小说中沟通的语言；四、自传体小说的关怀与审视的语言；五、穿行于裂隙之间的讽刺语言。

From the view of Criminology and Victimology the author study female family violence offense and firstly definite concepts of female family violence offense and family violence, then analyze the situation, characteristics and harm of female family violence offense, based on

笔者从犯罪学的角度研究女性家庭暴力犯罪，首先界定女性家庭暴力犯罪的概念及家庭暴力的概念，进而分析女性家庭暴力犯罪的现状、特点及危害，并在此基础上研究女性家庭暴力犯罪的原因及其由被害人到加害人的恶逆性转变，最后立足于防治女性家庭暴力犯罪，认为女性家庭暴力犯罪防治应该从以下四个方面着手，即女性家庭暴力犯罪的处遇、被害预防、加害预防及综合治理。

This thesis, applying western postmodern- feminism as the theory background, and the social and history status of Chinese women as the culture background, tries to unveil the postmodernism spirit trend that demonstrated by Chinese feminine writing in 90s in the following three aspects: the establishment of female discourse power, orectic writing, the breakdown of maternity mythology, and under the guidance of this spirit trend, the persistency and hard work Chinese female writers has put in reconstructing feminine "detailed history", fighting oppression of the masculine discourse power and actively expressing her creativity and vitality.

本文以西方后现代女性主义批评理论作为阐释的理论背景，以中国女性的社会历史地位作为阐释的文化背景，结合90年代中国女性写作的实践，从女性话语权的树立、欲望化写作、母性神话的窥破这三个方面，力图揭示出90年代中国女性写作所展现出的后现代精神向度，及在这一精神向度的指引下，中国女性写作重构女性&具细的历史&、抗争男性话语权力的压抑、积极表现女性创造力与生命力的执著与努力。

On the other hand, women need to be given due attention from the gender perspective and their unique value and rights, foregrounded. That is the rational paradigm of women\'s development. The goal of women\'s development is, together with men, to dispel the constraints of the gender system, and in the end, bring freedom and overall development to all people.

女性发展的合理范式是：一方面要从人的发展高度引领女性发展，承认女性作为&人&的发展权利与要求，使女性从&人&的意义上获得与男性共同的发展权利；另一方面要从性别视角关怀女性发展，承认女性作为&女&人的发展权利与要求，在女性发展过程中彰显女性的独特价值和独特权利。

The thesis think Tie Ning female identity experience poem ego, female ego, reasonableness ego of continuously mature development process,Tie Ning molded to take"fragrant snow" as to represent by poem of beautiful and artistic young girls, remeding the defent of female narration. After mid–80s, Tie Ning with mightiness of the female consciousness carried out to cross and surmount of the female's rightness by the female's review of ugly and appreciate beauty by duble variation. Which is the make–up of what Zhang Jie and Zhang Xin Xins novels neglect to female's essence life, It is also the watchful to Lin Bai and Chen Rans which excessively sinked in a female. In the new century, Tie Ning's stupid flower embody the tendency of the female return to the spirit of new time and great words, Indicate new century female literature is a important change of appreciate attitude.

论文认为，铁凝女性身份的认同经历了诗性自我、女性自我、理性自我的不断成熟的发展过程：铁凝以诗性自我塑造了以&香雪&为代表的美仑美奂的少女群像，弥补了新时期初期深陷男权文化中心的女性写作的匮乏；80年代中期以后，铁凝以强烈的女性自我意识在审丑与审美的双重变奏中实现了对女性自我的超越，既是对张洁、张辛欣们忽视女性本体生命欲求的弥补，也是对林白、陈染们过度陷于女性偏执的警醒；在新世纪，铁凝的《笨花》体现了女性意识叛逆后回归新的时代精神和宏大话语的趋向，预示了新世纪女性文学审美态度上的重大转变。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失