女性

Chapter 4 Properness and Deflection in Feminine Writing: In chapter 4, the author discussed and clarified the 'properness' and the 'deflection' in feminine writing in its cultural and era background from three aspects: the positive and negative effects of feminist theories on feminine writing; contrast between different emotional trends in feminine novels and feminine essays; and the undesirable trend of writing in a commercialized society. Also, this chapter explored the possibility of feminine writing's development in text and writing.

第四章 书写的真实与偏移从女性主义理论对女性文本写作的双刃影响、女性写作中小说作品与散文作品不同情感倾向的对比、商业化深入侵蚀带来"欲望化"写作的不良倾向三个角度，探讨和厘清女性写作中的"真实"与"偏执"，并对"女性写作"内容主题和创作双重意义上的"成长"可能性进行探讨。

First of all, this selected title draws lessons from doctrine critical theories of women, pass thebrief retrospect of women"s literature of modern times at China, it is analyzed that Zhang Ailing writesfrom the May Fourth Movement period women from spontaneous to the conscientious importantmeaning in the history of China"s modern womens literature, awakened the fanaticism of one to calmclose examination and introspection, and recessiveness builds the efforts to construct subjects ofwomen.

首先，本选题借鉴女性主义批评理论，通过对中国现代女性文学的简要回顾，分析张爱玲在中国现代女性文学史上，从五四时期女性书写由自发到自觉的重要意义，即由觉醒期的狂热到冷静的审视和内省，以及隐性建构女性主体的努力。

It mainly explores the female consciousness of the primitive women, women of The Book Of Poems and women of Han Dynasty. It tries to reveal the development of ancient Chinese female consciousness, from the primitive to Confucian ritualism.

本论文以中国古代的女性意识为研究对象，从文化学的角度分析中国原始社会的女性意识、《诗经》时代的"礼"化的女性意识，以及汉代发展为封建妇德的女性意识，从而阐释中国古代女性意识从原始走向封建礼教的过程。

This study, by analyzing the image of "double otherness" Viking Women displayed in alien texts, and through the inspection of feminist history to Saga's narrative perspective and Viking women's remodeling masculine discourse, illustrates the historical visual threshold and narrative logic feminist history displayed via sources concerning Viking women.

本文通过对域外文献所描述的维京妇女的"双重他者"形象的女性主义解读、女性主义史学对萨迦女性叙事向度以及维京女性塑形的男子气话语解读等的审视，剖析了女性主义史学通过维京妇女史文献解析而展示出的历史视阈和叙事逻辑。

She is a typical "charming chinese old-style woman" who accepted a little "new education".through our analysis,we can find when she was giving in to her husband,she wanted to react against him inside of her;she loved her son ,but she took all she could do to let him give up his true love at the same time; she did pursue her love,but meanwhile shed rather let herself be in chains in this rich family and play a painful role between "mother" and "lover"; she looked down up working-class people ,but meanwhile she commiserated working-class women.all above,prove that fan is a double-personality female.she could stand for all contemopany chinese young women who were influenced by "new education": lovely but unreasonable.the author of "the thunder storm" expressed how contemopany chinese young women should face the challenge from life through creating her.meanwhile,it can prove the value of "the thunder-storm".

她是1个具有特殊魅力的"中国旧式女人"，同时又是受了点"新式教育"影响的女性。她是1个有着双重性格的女子。她对丈夫既表现出软弱地屈从又表现出怨恨和反抗；她既关爱儿子又要以世俗的等级观念来干涉儿子的感情；她敢于追求自己的爱情却又把自己束缚在1个狭小的空间；她鄙视下等人的生活同时又对处于社会底层的女性表现出真诚的同情。蘩漪是54时期中国青年知识女性的1个时代缩影。通过对她的分析，我们可以看到特定时期中国知识女性的可爱之处以及时代赋予给她们的缺陷，从而进1步阐述当代中国女性应该以什么样的姿态站在人生的舞台上，也更进1步确定了《雷雨》所具有的社会价值和时代意义。

The "gender" defects of female are the "phylum" defects of human, and the living predicaments female faced are the common living predicaments human being faced, because the conception of "female" concentrates all characters of noble and humble of human being and every female image almost has two-ply characters of "femininity" and "humanity".

因为"女性"这一概念浓缩了人类高贵与卑微的所有品格，每个女性形象几乎都兼具"女性"和"人性"的双重品格，所以女性的"性"缺陷也即人类的"类"缺陷，女性所面临的生存困境也即人类共同面临的生存困境。

After defining the feminine literary criticism from " Female Angle of View ", this paper gives the general description of the practice of Chinese literary criticism since 1900's as well as the analysis of individual characteristics, with the purposes of showing the spirit of creativity and vigorousness in it and giving a summarization of the deficiency in practicing. And all the work is done from three aspects:(1) Reconstruction and construction concentrating on the traditional literary criticism: that is to critique the masculinism in the traditional culture, to get the knowledge of the male writer's gender discrimination, and to find the source of feminine literature by the way of resistance-like reading.

本文从"女性视角"界定了女性主义文学批评的内涵，对20世纪以来中国女性主义文学批评实践，采用总体描述和个体研究特征分析相结合的方式，以彰显女性主义文学批评的学术创新活力、总结其实践中存在的不足为宗旨，从三个方面进行梳理整合：解构与建构，对传统文化的批判：批判传统文化话语中的男性中心主义，解读男性作家的性别歧视，运用抗拒式的阅读方式寻找女性主义文学传统。

The dissertation gives a brief statement about the evolvement of woman's social status, woman's rights, the development of woman study historically as well as analyzes the evolvement situation of female figures in advertising developing history.

本文首先从历史角度，对女性社会地位的演变以及女权运动、女性学的发展作简要阐述，同时分析女性形象在广告发展历史中的演变情况，由此看出广告中的女性形象随着女性社会地位的提高而改变。

Obviously, it seems that his intention is to make another kind of voice out of the deep water, which makes it fight against traditional phalloccntrism; while also entangle on the male dcsire peering at female bodies in his narrative words, using the supposing visual center in the film picture to disguise the ubiquitous male desire peering at female bodies, all which embody the desire to close the western cultural center regardless of the picture handling and cameral lens cutting. Finally, he spends every strain to alleviate visual pressure and catering to the visual feeling of the western audience using narrative tactics, while the real intention to fight for language right with traditional phallocentrism. So it"s safe to say that this is a right fight between traditional phallocentrism and marginal counterpart. Just as the sacrifice of women in Zhang"s films, the marginal women again betrayed in Lous, and women again become the punishing and desire subject and swapping subject between men.

似乎让另外一种声音浮出水面是他的叙事意图，使它能够对抗传统中心话语权威；然而，在他影片的叙事话语中，仍然纠缠于固执的男性对于女性的窥视，利用设定影片画面中的表层观看&中心&，企图掩饰他影片中无处不在的对于女性的窥视欲，无论是在影片画面处理、影片镜头的剪辑上都显示出对西方强势文化中心的靠近，利用其中叙事策略来尽量减轻或者迎合西方观众的视觉接受，而其真正的叙事权威就是利用&边缘&来争夺西方观众的肯定，来与传统男性中心权威话语争夺话语权，这是一场传统男性中心话语权威与男性边缘群体争夺话语权的斗争，就如张艺谋的影片中以牺牲女性为代价，娄的影片中同样牺牲了边缘女性群体，女性再一次成为窥视、惩罚的对象，成为男性交换的对象。

The female awareness in Bi Feiyu ' s novels contain rich and profound historical and cultural implication, but the male-dominated cultural wave will easily overwhelm the female awareness to desexualize those women, making them infemine, the male perspecitve is strengthened and identifiedby society and finally the men write will more and more overlook the real personalized experience of women.

毕飞宇关于女性意识的小说虽然蕴涵着厚重的历史文化，但在男权为核心的文化潮流中容易淹没作品中的女性意识，使女性不成为女人，而是&类女人&，并且这种男性视角题材选择的厚重的特点不断地得到社会的认同和强化，它将最终使男性作家书写女性意识时更加不注重女性真正的个体体验。

I didn't watch TV last night, because it .

昨晚我没有看电视，因为电视机坏了。

Since this year, in a lot of villages of Beijing, TV of elevator liquid crystal was removed.

今年以来，在北京的很多小区里，电梯液晶电视被撤了下来。