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浅论萧红《生死场》中的女性悲剧命运及其现代意义萧红是中国现代文学史上备受瞩目的女作家之一，她的作品《生死场》描写了中国传统社会中女性的悲剧命运，反映了当时社会对女性的不公平态度。
本文将以《生死场》中的女性悲剧命运为切入点，探讨其中蕴含的现代意义。
我们来了解一下《生死场》这部小说。
《生死场》讲述了一个女子静秋的命运，她因为家庭的贫困被迫与一个瘸子结婚。
在这段婚姻中，静秋遭受了丈夫的虐待和歧视，她的人格也逐渐受到了摧残。
最终，她怀有身孕，但却因为无法承受身心的折磨而选择了自杀，以求解脱。
小说中对静秋的描写，使得读者感受到了这位女子的悲惨命运，以及传统社会对女性的束缚和压迫。
在当时的中国社会，封建思想根深蒂固，妇女地位低下且受到限制。
女性被视为家庭的附庸，她们的人格和自由常常受到忽视和侵犯。
《生死场》中的女性形象，正是对这一社会现象的生动再现。
静秋所遭受的种种不公，是无数中国女性命运的写照。
她们或被迫婚姻、或受男性暴力、或无法选择自己的人生，受尽委屈和折磨。
这些悲剧并非孤立的事件，而是反映了当时整个社会对女性的不公平对待。
《生死场》中的女性悲剧命运并非仅仅停留在历史的舞台上，而是对当代社会依然具有深刻的现实意义。
尽管中国社会经济发展迅猛，封建思想逐渐淡化，但女性地位和权益的保障仍然面临挑战。
女性权益和地位问题依然存在，体现在许多方面，比如职场歧视、家庭暴力、性别歧视等。
通过改革和取缔性别歧视，提高女性地位和权益，促进性别平等，仍是当代社会亟需解决的问题。
在当代社会，我们应当通过多种途径来保障女性的权益和地位。
需要加强对性别平等和女性权益的宣传，提高社会对女性问题的关注和重视程度。
在学校、媒体、社会中，普及性别平等观念，促进男女平等，尊重女性人格和价值。
需要通过制定法律和政策来保护女性的权益，提高女性地位，纠正各种形式的性别歧视和不公平待遇。
社会应当加强对家庭暴力问题的管理和预防，给予受害者更多的支持和保护。
浅论萧红《生死场》中的女性悲剧命运及其现代意义
萧红的《生死场》是一部关于女性悲剧命运的小说，它反映了当时社会中妇女地位低下、封建礼教束缚、男女不平等的现象。
小说中的女性人物在面对生死场的考验时，展现出了强大的生命力和勇气，但最终仍被现实所击败。
这部小说深刻揭示了女性在当代社会中的遭遇和境况，对于今天的我们来说，仍具有深刻的现代意义。
小说中的女性大多出身于贫苦家庭，缺乏知识、文化和教育，被传统封建礼教束缚，面临着男女不平等的处境。
其中最为典型的就是小说中的女主角卓文君。
卓文君出身于贫苦家庭，由于生得美貌，成为了富家少爷的妾室。
她原本只想靠自己的努力摆脱贫困，但最终被现实所击败。
她的悲剧命运表达了萧红对当时中国女性境况的深刻反思和探讨。
小说中的女性角色在面临生死场的考验时，展现出了强大的生命力和勇气。
他们不畏艰险，不惧死亡，用自己的行动诠释了一种坚强和勇敢的品质。
比如，在小说中，卓文君在面临死亡时，没有向命运低头，反而坚定地选择了跳崖。
女孩子芳芳在被强奸后选择了自杀，即便家人多次试图阻止，她依旧决定了走向死亡。
这些女性的行为彰显出了她们内心深处的崇高品质和坚强勇敢的信念。
然而，这些女性最终都被现实所击败，其悲剧命运也提醒着我们：在当代社会中，女性仍然面临着诸多的困难和限制，需要我们付出更多的努力。
在当今的社会中，女性已经获得了许多的权利和机会，我们应该以她们的悲剧经历为鉴，在今后的道路上，坚定不移地追求真正的平等和尊重。
浅论萧红《生死场》中的女性悲剧命运及其现代意义《生死场》是著名作家萧红的代表作之一，它描绘了20世纪初中国社会的残酷现实和女性的悲剧命运。
在小说中，萧红以细腻的笔触刻画了女性们在家庭、婚姻、社会等方面所遭受的苦难和艰辛，展现了女性在男权社会中所遭受的不公和压迫。
本文将就《生死场》中的女性悲剧命运及其现代意义展开探讨。
小说中所描述的女性命运，可以说是充满了悲剧与苦难。
从女主人公小云、明娘、秧儿到其他的女性角色，她们在这个故事中都经历了种种不幸的命运。
她们在家庭中承担着繁重的家务劳动，受尽了丈夫和家庭成员的虐待和压迫，她们没有自己的人生和自由，生活得十分苦痛。
小说中的女性形象无一不显示出她们在男权社会中的无助和悲剧。
在小说中，小云是一个具有独立意识和不甘屈服于命运的女性形象，但她最终也无法摆脱厄运的困扰。
她在家庭中遭受丈夫的压迫和虐待，无法得到婆婆和姑爷的支持和理解，最终走上了不归路。
明娘则是一个不幸的女性形象，她被迫嫁给了不爱的男人，终日受尽欺凌和折磨，悲惨的命运着实令人心痛。
小说中的其他女性形象，如秧儿，她也是一个无辜受害的女性形象，她被迫堕入火坑，最终无法逃脱悲惨的命运。
通过描绘这些女性的悲剧命运，萧红深刻地反映了旧中国男权社会对女性的压迫和剥削，同时也呼吁人们对女性的关爱和尊重。
小说中的女性形象是对旧中国社会中普遍存在的女性苦难的真实写照，也是对现代社会中依然存在的一些女性问题的深刻探讨。
在当下社会，尽管女性地位有所提高，但依然存在着性别歧视和不公平待遇，许多女性仍然是家庭中的弱势群体，她们承担着繁重的家务劳动，面临着职场上的不公平待遇，甚至遭受家暴和性骚扰。
小说《生死场》中描绘的女性悲剧命运也能引起我们对当代社会中女性命运的深思。
通过深入了解女性在家庭和社会中所承受的压力和不公，我们可以更好地关注并尊重女性的地位和权益，努力消除性别歧视和不公平待遇。
我们也应该关注和关爱那些身处困境的女性，给予她们更多的支持和关怀，帮助她们走出困境，追求自己的幸福和自由。
浅论萧红《生死场》中的女性悲剧命运及其现代意义萧红是我国著名的女作家，她的作品《生死场》描写了20世纪初期中国农村的社会现实和女性的悲剧命运。
在小说中，女性角色面临着来自社会的歧视和压迫，他们的一生被命运所左右，表现出了一种无奈和悲哀。
本文将从《生死场》中的女性悲剧命运以及其现代意义两个方面进行分析和探讨。
《生死场》中的女性悲剧命运体现在主要女性角色身上，她们的命运可以说是被社会所束缚、被男权社会所压迫的典型代表。
在小说中，主要通过陈希黎和包铁案两个女性角色的命运，揭示了当时农村女性的悲惨遭遇。
陈希黎是一个聪明伶俐、努力进取的女孩子，但她却因为家庭的贫困，受制于封建观念和家庭的压迫，最终沦为一个妓女。
在小说中，陈希黎在家中的命运就已经注定了，她父母的决定和家庭的贫困迫使她只能去学技艺当妓女。
即使是在妓院里，陈希黎也依然奋斗着，希望通过自己的努力摆脱贫困，但是最终还是被残酷的现实所击败。
她的一生都被命运所左右，无法摆脱社会的枷锁，最终以悲剧的方式结束了自己的生命。
包铁案的命运也是令人唏嘘的。
她是一个敢爱敢恨、热情而又坚强的女性，但是在封建社会的压迫下，她最终也只能落入一个悲惨的结局。
包铁案被迫嫁给了自己不爱的男人，婚后的生活充满了痛苦和折磨。
她的丈夫虽然对她很好，但是却无法填满她内心的空虚和孤独。
在小说的结局中，包铁案走上了自杀的道路，结束了自己的生命。
《生死场》中描绘的女性悲剧命运，让人深感心痛。
这些女性角色都是无辜的受害者，她们的一生都被社会所扭曲，无法在封建压迫下实现自己的人生价值。
她们的悲剧命运反映了当时农村女性的现状，也呼应了当下社会中一些女性所面临的困境。
《生死场》中女性悲剧命运的现代意义，反映了当下社会中依然存在的一些问题。
尽管我们已经迈入21世纪，但是封建观念、男权社会依然在一定程度上影响着女性的命运。
相较于小说中的陈希黎和包铁案，当下社会中的女性也依然面临着诸多的困境。
在当下社会，一些地区和家庭依然存在对女性的歧视和压迫。
浅论萧红《生死场》中的女性悲剧命运及其现代意义《生死场》是中国作家萧红创作的一部小说，描写了上世纪二三十年代中国农村社会中妇女的悲惨遭遇和命运。
小说中的女性形象深受现实生活的影响，展现出当时农村妇女的悲剧命运和社会地位的低下。
这部小说也带有鲜明的现代意义，在当今社会仍然具有深刻的启示作用。
在《生死场》中，萧红通过不同的女性形象展现了当时农村社会女性的悲剧命运。
首先是小说中的女主人公花儿，她是一个贫苦农家的女儿，在家庭的压迫下没有受过教育，也没有选择自己的婚姻。
她被迫嫁给了一个丑恶的老头，生活在水深火热之中，最终在对丈夫的不堪忍受下选择了自杀。
其次是小说中的贾二嫂，她与自己的姐姐一同被强迫嫁给了同一个男人，最终被抛弃在艰难的环境中。
这些女性形象都展现了当时农村社会女性的悲剧命运，她们的人生被社会制度和家庭压迫所扭曲，无法得到自由和独立。
这些女性形象的悲剧命运揭示了当时农村社会中妇女的困境和社会地位的低下。
在那个时代，农村女性的主要任务是生儿育女、料理家务，她们没有受过教育，没有独立的思想，也没有社会地位和自我意识。
她们的人生被早婚、早育所束缚，没有选择自己的命运和未来。
在男权社会压迫下，她们只是家庭的附属品，没有自己的人生和价值。
她们在生活中承受了极大的压力和痛苦，最终被迫接受了命运的安排。
《生死场》中的女性形象也带有现代意义，具有深刻的启示作用。
小说中的女性形象揭示了性别歧视和家庭暴力的问题。
在当今社会，性别歧视和家庭暴力依然是一个严重的社会问题，很多妇女在家庭中遭受着各种形式的歧视和暴力。
这些女性形象的悲剧命运提醒人们，应当关注和呵护妇女的权益，保护她们的人身安全和尊严。
小说中的女性形象也呼吁妇女应当有自己独立的意识和价值。
在当今社会，妇女应当有自己的事业和追求，应当享有平等的社会地位和权益。
她们应当有权利选择自己的人生和未来，不应当被家庭和社会的压迫所束缚。
萧红的《生死场》中的女性悲剧命运及其现代意义值得我们深入探讨。
生死场论文第一篇：生死场论文浅析《生死场》中的女性悲剧初读《生死场》时并不激动，因为已经读过萧红的《呼兰河传》有些适应了她看似平淡的叙述，虽然开头并不跌宕起伏，然而萧红的小说总是有渐入佳境而引人入胜魔力的，一步一步深入其中时，你会发现许多种复杂的情绪已经随着书本上的行行文字充斥胸腔。
起初泛起的怜悯之心是看到二里半的老婆麻面婆的时候。
麻面婆不是一只蝴蝶，她生不出磷膀来，只有印就的麻痕。
她的眼睛好像哭过一样，揉擦出脏污可笑的圈子，若远看一点，那正合乎戏台上的丑角；眼睛大得那样可怕，比起牛的眼睛来更大，而且脸上也有不定的花纹。
她知道家人要回来吃饭，慌张著心弦，她用泥浆浸过的手去墙角拿茅草，她贴了满手的茅草，就那样，她烧饭，她的手从来没用清水洗过。
她头发飘了满脸，如同母熊般……这是一个弱智的妇女，她有一个跛脚的丈夫，一个还未长大的孩子，和一个像草洞一样的家。
我想，使我生出怜悯之心的不仅仅是小说里的麻面婆，不仅仅是这个因为不聪明所以收捡不干净受丈夫嫌的妻子。
更多的是因为她而联想到的我身边曾发生和正在发生的事。
我有一个算得上是表舅的人，文化不高，小学毕业，人也不高，160cm，这样的条件也就和小说里的二里半差不多了吧，他讨的老婆和麻面婆比是有过之而无不及的。
表舅妈小时候患有脑膜炎烧坏了脑子，后来经媒人介绍嫁给了条件并不好的表舅，一年后生下了一个10斤的胖小子，然而这个孩子的到来没有给这个家带来更多的幸福，在孩子10岁时，医生告诉表舅这个孩子只有7岁的智商，就这样为他打上了弱智的标签。
同样不幸的人，同样不幸的故事，这样的弱势群体总是被迫承受这人们的同情或者践踏。
然而仔细读着《生死场》时，我突然意识到，纵使像麻面婆这样不聪明，理不顺自己也理不顺家的人也是有尊严知道维护尊严的。
听说羊丢，她去扬翻柴堆，她记得有一次羊是钻过柴堆。
全头发洒著一些细草，她丈夫想止住她，问她什么理由，她始终不说。
她为著要作出一点奇迹，为著从这奇迹，今后要人看重她。
浅论萧红《生死场》中的女性悲剧命运及其现代意义作为中国现代文学的代表作品之一，萧红的小说《生死场》通过对女性生存状态的探索，展现了当时社会对女性的极度剥削和压抑，进而揭示出女性在现代化进程中遭受的悲剧命运。
本文就从女性角度出发，探讨《生死场》中女性悲剧命运及其现代意义。
首先，小说中的女性都是被动的受害者。
玉米、小红等女性主人公都经历了身心上的痛苦，承受着社会和家庭的压力。
小红在父亲的逼迫下成了养病地震的妓女，给她带来了无法描述的痛苦和寂寞，而玉米则被父亲放逐到农村，被迫嫁给相貌丑陋的文革闲散青年成勇，最后背负着沉重的家庭负担，过着颠沛流离的生活。
这些女性不得不接受她们不愿意的生活，承受着世俗的压力和社会的不公。
她们受到的是残酷的对待，是无限的悲痛。
其次，小说中女性的悲剧命运凸显了女性在现代化进程中的身份危机。
在当时的中国社会，女性的地位十分低下，无论是家庭还是社会，女性都被贴上了“弱者”的标签。
而随着现代化进程的不断推进，女性在生活和工作上的地位愈加严峻。
在这种情况下，萧红通过刻画女性人物，直观地展示了女性在社会变革中的身份危机，使读者能够深刻认识到，女性也应当成为社会中重要的角色。
最后，小说中的女性悲剧命运表明了女性已经迫切需要自我救赎。
尽管生存环境艰苦，小说中的女性们并没有失去自我，而是逐步发掘出自己的潜力，寻找自己内心的安宁。
这从小红在痛苦中祈求释放和玉米在生活中保持乐观、积极态度中可以看出。
她们正在寻求自我救赎的道路，希望挣脱社会规则的束缚，追求自我价值的提升。
总之，《生死场》中的女性命运凸显了女性在现代化进程中所面临的身份危机和悲剧命运。
她们所经历的苦难，反映出中国社会对于女性权利和地位的忽视。
但是，小说同时也表明了女性不应该屈服和自卑，而应该得到平等和尊重。
对女性的关注和尊重应该是社会前进的必然步伐，而女性也应该挖掘自己潜藏的力量，争取自我救赎。
浅论萧红《生死场》中的女性悲剧命运及其现代意义摘要：萧红在《生死场》中书写的一幕幕女性的悲剧命运，主要体现在女性的生存悲剧以及不幸的爱情与婚姻两方面。
从生存悲剧来看，首先是女性在贫穷中饱受摧残，其次是女性在绝望中走向死亡。
女性在爱情和婚姻方面的悲剧主要体现在女性在爱情中饱受伤害，在生育中饱尝痛苦。
《生死场》中的女性悲剧命运值得现代女性深思，女性要实现独立自由，首先要冲破男权桎梏，实现思想解放;其次要摆脱生殖奴役，获得生育自由。
关键词：萧红悲剧命运女性《生死场》萧红的生命虽然十分短暂，但是她为人类留下了近百万字的文学作品，具有持久的生命力。
她在《生死场》中通过描写中国封建社会东北农村女性凄惨的人生境遇，一步步揭开蒙在女性悲惨命运上的面纱。
作品中的女性悲剧命运值得现代女性深思，对女性追求平等的权利、实现自身的价值具有重要意义。
一、《生死场》中女性悲剧命运的体现萧红颠沛流离的生活经验使她作品中的女性形象或多或少融入了自己的影子，《生死场》中的女性在生存和死亡间苦苦挣扎，在不幸的爱情与婚姻中饱尝痛苦。
（一）生之艰难，死之挣扎1.在贫穷中饱受摧残孔子说：“富与贵是人之所欲也……贫与贱是人之所恶也。
”人们都希望能摆脱贫困，过幸福富足的生活。
但是在《生死场》中，那时的中国正处在水深火热的民族危难之中，黎民百姓过着饥寒交迫的生活。
《生死场》中的农民生活在社会的最底层，“乱坟岗子是地主施舍给贫苦农民们死后的住宅，但活着的农民，常常被地主们驱逐，使他们提着包袱，抱着小孩，从破房子再走进更破的房子去”。
物质上的贫穷也导致了精神上的贫穷，农民们对庄稼的看重远远高过人的生命。
寒冷的冬日，平儿把爹爹的靴子偷穿出去，王婆立即凶暴地让平儿打赤脚回家。
孩子们弄坏了地里的一棵菜苗，就要遭到母亲严厉的惩罚。
生活的贫困让女性无法称职地担当母亲的角色，对她们来说，孩子的价值远远没有生活中的物质需求重要。
五月节的前几天，成业天天和金枝吵架。
大地与生死场中的女性意识摘要《大地》是美国女性作家赛珍珠的小说作品，而《生死场》则是中国女性作家萧红的小说作品，赛珍珠和萧红虽然国籍不同，叙事语调不同，但她们的这两部作品都描写了二十世纪初中国农村妇女在父权制社会下的悲惨命运，同时也都刻画了在传统压迫下的女性人物的反叛精神。
对农村妇女悲惨的遭遇和对父权制的反叛的描写都是对妇女觉醒和解放的关注和思考，表现出了赛珍珠和萧红的女性意识。
关键词：《大地》，《生死场》，女性意识The Feminist Consciousness in The Good Earth and The Field of Life and DeathAbstractThe Good Earth is a novel written by American woman writer Pearl S. Buck, and The Field of Life and Death by Chinese woman writer Xiao Hong. Although Pearl S. Buck and Xiao Hong have different nationalities and tell stories in different tones, they both depict the miserable destiny of the Chinese rural women of the early twentieth century who suffered tremendously in the patriarchal society. These two writers both portray the female characters’ rebellious spirit, which displays their focus and concerns on women’s awakening and liberation, and also their feminist consciousness in these two novels.Key Words: The Good Earth, The Field of Life and Death, feminist consciousness1. IntroductionPearl S. Buck was the first American woman writer who won the Nobel Prize for Literature and famous for her novels set in China. Though she was born in Hillsboro, West Virginia, the United States, “she was brought to China by her missionary parents when she was only three months o ld”[](p.2) and then spent almost 40 years in China so that she was greatly influenced by Chinese culture as well as Chinese traditional novels. Her novel The Good Earth, the most famous and beloved novel by Nobel-Prize winner, won the Pulitzer Prize in 1932. And she was awarded the Nobel Prize for Literature “for her rich and truly epic descriptions of peasant life in Chinaand for her biographical masterpieces.”[] However, since then, she has become one of the most controversial writers in the history of American Literature.After the news, The New York Times published a profile interview speaking highly of Pearl and her works. But in the American literary circle, the majority of writers took negative reactions. The famous poet Robert Frost said that if she could win the Nobel Prize for Literature, then it was not a problem that everyone could win it. Luckily, with the communication between the Chinese and western culture, this classic and historic novel has begun to exert its huge influence again. Since 1940s, among those American writers, Peter Conn and his work Pearl S. Buck: A Cultural Biography have contributed the most to its study. “Conn convincingly portrays her as an extraordinarily committed and passionate woman who spoke out bravely on subjects oth ers of her generation preferred to ignore”[] and his aim is to reestablish “her place in American literary history, as well as to acknowledge her contribution to the social causes which she espoused”[3] “through his narrative account for her eventful life and extensive writing.”[] In 1992, Macon Women’s College held an international symposium on Pearl S. Buck’s centenary birthday including Asian, European, and American scholars, which promoted the development of the research of Pearl and her works. While since the 1930s, Chinese scholars has shown great interest and attentions on her and her works. But, because of historical, political and other reasons, domestic research on Pearl and her works has experienced ups and downs, which is mainly divided into the following three stages. In the first stage, from the 1930s to 1940s, her works were translated into Chinese and Chinese scholars took two opposite views. Some of them, represented by Ye Gongchao and Zhuang Xinzai, thought that her works were objective and realistic. By contrast, the others, represented by Lu Xun, Hu Feng and Mao Dun, claimed that her works misrepresented the image of China. In this stage, the research only focused on the social and political functions of her works rather than on the more deeply cultural aspects. In the second stage, from the 1950s to 1970s, because of the ideological differences, Pearl and her works were thoroughly denied by domestic scholars and the research on her works had been stopped for several decades. In the third stage, fromthe 1980s to nowadays, domestic research on the foreign literature has attached great importance to this field and begun to deeply study her works in different aspects, such as the cause of Pearl’s literature phenomenon, her view of literature an d art and the significance of her works. In 1989, the Chinese mainland first published the translation work of Good Earth, Sons and A House Divided by Wang Fengzhen and other scholars, which has been loved deeply by readers since then. Besides, scholars began to study her works from different and new perspectives, the feminist literary criticism and postcolonial theory and orientalism. On the other hand, scholars also focused on the universal significance of her works since, to a great extent, she was considered as a bridge of cultural exchange between China and the West. Therefore, scholars not only explained the Chinese characteristics in her novels, but also explored her strategies for cross-cultural communication. All in all, although there are already many studies on Pearl S. Buck and her works, there is no doubt that the studies on her and her works still have more room for development because her works are classic and alive and should be studied more deeply with the development of our society.Xiao Hong is a famous female writer after Bing Xin and Ding Ling in the history of Chinese modern literature. Her works attracted many writers’ attentions at her time like Lu Xun and Mao Dun, who all spoke highly of her and her works. During her short nine-year writing career, she created more than one million words of literary works including novels, proses and plays. In 1934, with the help of Lu Xun, she published her novel The Field of Life and Death, which was the beginning of her fame. As a woman, she experienced the formidable oppression of the patriarchal culture at an early date, so feminist thoughts became an important theme of her works.Therefore, there are many studies mainly on feminist consciousness in her works, of which the influential one is Nora’s Speech: The Psychological Course of Chinese Modern Female Writers by Liu Siqian, a pioneering book on Chinese feminist literary criticism. The author reveals Xiao Hong’s mental process in her novel creation from a rational and unique perspective of feminist criticism. Another influential book is To the Surface of the History: The Study of Modern Chinese Women’s Literature byMeng Yue and Dai Jinhua, which deeply explains Xiao Hong’s feminist consciousness from three aspects of fate, female insight, awakening and sympathy. Besides, there are many articles on Xiao Hong’s feminist consciousness. For example, “On Xiao Hong’s Feminist Thoughts” by Huang Changhua focuses on those women’s miserable fate in Xiao Hong’s works. Zhou Xiaoying compares the images of Chi nese villages between Pearl S. Buck’s The Mother and Xiao Hong’s The Field of Life and Death, which also talks about the rural women’s tragic fate and sufferings. As for the foreign studies on Xiao Hong and her works, The Field of Life and Death and Tales of Hulan River were translated into English by Howard Goldblatt and Ellen Yeung. Then, there are some reviewed works of this translation version.This thesis focuses on the feminist consciousness in The Good Earth and The Field of Life and Death, which consists of four parts. The first part mainly introduces the domestic and foreign studies on the two writers and their works. The second part is the main part of this thesis which elaborates the feminist consciousness in The Good Earth and The Field of Life a nd Death by analyzing the Chinese women’s sufferings and their rebellious spirit in the two novels. The third part states the differences in conveying their feminist consciousness in these two novels. The last part is the general conclusion on this thesis.2. The Feminist Consciousness in The Good Earth and The Field of Life and DeathPearl S. Buck and Xiao Hong both focus on Chinese rural women’ life in the patriarchal society and they are aware that women belong to a subordinate group, which made them suffer a lot and dominated by men. Depicting Chinese rural women’s sufferings and rebellious spirit, Pearl S. Buck and Xiao Hong show their feminist consciousness in these two novels.2.1 Chinese Rural Women’s SufferingsIn The Good Earth, Pearl S. Buck mainly displays the sufferings of O-Lan, the wife of the farmer Wang Lung; while in The Field of Life and Death, Xiao Hong describes that of different women like Old Mother Pockface, Mother Wang, Yveh-ying and Golden Bough. Yet despite all that, they still have a lot in common interms of the miserable sufferings.2.1.1 The Scenes of Chinese Rural Women’s ChildbirthIn The Good Earth, the most impressive scene of women’s childbirth is when O-Lan’s first child was born. With great agony, she still worked in the h arvest field with her husband before she gave birth. Her husband didn’t ask her to take a rest, and even felt impatient when she “cut more and more slowly.”[](p.36) Only when she felt that the hour came did she go back to their house alone, and when her husband came back, he found that she had prepared them food. Without a midwife, O-Lan had to give birth by herself. She asked her husband to give her “a newly peeled reed”[5](p.36) to cut the child and not to come into the room until she called him. Pearl di dn’t depict the process of the childbirth directly, but readers could imagine that through O-Lan’s husband. He gave her the reed and “stood listening at the door to those heavy animal pants,”[5](p.37) but she didn’t make sound aloud. How brave she is to cu t the child from her own body even without loud screams! However, when the child was born, her husband didn’t care about her at all who just suffered a lot of pain of giving birth, and the only thing that he wanted to know was whether the baby was a boy or not. After knowing that it was a boy, he didn’t ask her how she was doing and he just shared the good news with his old father and then began to eat at the table. O-Lan cleaned the room just after giving birth, and “the next day after the child was born,”[5](p.39) she prepared the family food as usual. After a short while, she was back in the fields beside his husband and worked all day, with the child lying on the ground.While in The Field of Life and Death, there is one chapter mainly depicting women’s childbirth, which was named “Days of Punishment” by Xiao Hong. In her novel, “the fates of farm animals both herald the inevitable sufferings”[] of those rural women. She compared women’s childbirth to the animals’ giving birth because there were nothing b ut pain to those women. Fifth Sister’s elder sister was the first one to give birth in this chapter whose childbirth didn’t go smoothly. With the help of the midwife and other women of the village, “the punishing child just would not come out.”[](p.53) The midwife was so superstitious that she thought that the womancouldn’t give birth on the straw or they would never get rich. Therefore, the naked woman crawled “on the K’ang like a fish.”[7](p.52) What’s worse, the woman’s husband coming in the room drunkenly shouted at her menacingly and flung the tobacco pouch at “the corpse-like figure”.[7](p.53) As a result, the child died instantly as soon as it came into the world. “The woman lay in her own blood, soaking it up with her body,”[7](p.54) of which the sc ene was so horrible that one could hardly bear seeing it. Golden Bough, a poor young woman who also took her punishment, began to work as usual just after ten days or so. After Mother Wang helped Old Mother Pockface and Second Aunt Li give birth, she found that somebody’s sow was also doing that when she returned. Those women were “much worse off than beasts.”[] It is obvious that Pearl and Xiao Hong both show Chinese rural women’s courage and the punishment that they have taken. Those women lived in the patriarchal society just like animals, where they had to bear sons to carry on the family line. Not only did they have to suffer the huge pain of giving birth, but also they had no time to heal their bodies as they had to work as soon as possible, which would definitely do great harm to their health.2.1.2 The Death of Chinese Rural WomenO-Lan spent all her life in working and tending the family, and gave birth to many children for Wang Lung, but she had a miserable ending dying bitterly with excruciating di sease. Wang Lung didn’t realize her disease when she moved more and more slowly. When her face turned “grey with some inner pain,”[5](p.241) she still “stooped to sweep the brick floor.”[5](p.241) Only at that moment did he tell her to lie on her bed and go to find a doctor to see her. But she was so seriously ill that the old doctor couldn’t save her. Her “heart barely moves and doubtless there are worms in it.”[5](p.242) While in her opinion, her life was worth less than the land and she was so ugly that she “cannot be loved.”[5](p.247) So even at the end of her life, she didn’t complain about her sufferings and the unfair treatment to her.Yveh-ying, who was once “the most beautiful woman in the fishing village,”[7](p.37) also died of disease. “She had no t been able to sleep lying down”[7](p.39) for a whole year because she was paralyzed. Her husband disliked herbecause she was ill so that she couldn’t bear children for the family. The man put bricks around her body to prop her up, which eventually made her buttocks rotten and her teeth green. And then she died bitterly and her death didn’t mean anything to the living people who “still had to plan how to stay alive.”[7](p.41)In the patriarchal society, women lived and died like animals, as nobody cared about their life and death. They were more like machines which had to work and bear children for their families. Even their death didn’t matter to their families because the men could remarry other women to do the work after they died.2.1.3 Chinese Rural Wo men’s Unfortunate MarriagesBesides the pain of giving birth, those women didn’t get any happiness in their marriages at all. O-Lan once was a slave girl in a great house, the House of Hwang, before she married to her husband, Wang Lung. She was sent out by her Lord like a gift and the couple didn’t meet each other before. On that day, Wang Lung went to the House of Hwang to take O-Lan home and then they got married. The only reason why Wang chose her as his wife was because he and his old father just wanted a woman who would do the housework and bear children and also work in the fields. She was not pretty and didn’t speak too much, and Wang was disappointed that her feet were not bound. Although she had many traditional virtues and contributed a lot to their family, Wang still didn’t love her. It was she who by her living experience in the House of Hwang took the jewelry from the rich man’s house which Wang sold to buy lands so that he could become richer and richer. However, he didn’t treat her better as s he had done all this for him. What’s worse, he spent a large sum of money to take a woman, Lotus, home from a tea shop as his concubine. He built new rooms for Lotus who had little feet and she even had a slave girl to take care of herself. While O-Lan still had to do all the housework and never had a servant even when they got so much money. Wang didn’t want to look at O-Lan’s face and never cared about her until she was dying. Wang thought that it was not his fault if he had not loved O-Lan as one loves a concubine, “since men do not.”[5](p.241) O-Lan lived a hard life and never felt the love from her husband in her lifetime, even though he did feel remorseful when she was ill lying in the bed, yet not out of love.。
女性主义视野下的《生死场》重读《生死场》是一部描写中国三十年代农村农奴制度的小说，作者是曹禺。
小说通过一个家庭的命运，展现了中国农村的封建压迫和农奴制度的残酷。
在女性主义视角下，我们可以重新审视这部小说，关注女性在封建社会中所承受的压迫和剥削。
在《生死场》中，女性扮演着重要的角色，她们在封建社会中生存，受尽压迫和剥削。
小说中的女性形象主要集中在被称为“萝卜姑娘”的小姑娘和地主家的女主人。
小姑娘是一个普通的农家丫头，她受尽了主人的欺凌和摧残，最终因为无法忍受痛苦而选择自杀。
她的命运凸显了农村女性在封建社会里处境的悲惨和无助。
地主家的女主人则是一个典型的封建家庭妇女，她虽然地位高于小姑娘，但同样受到封建礼教的束缚，无法自主。
她的丈夫和女儿都沦为了农奴，她自己也无法摆脱封建伦理和社会习俗的束缚。
从女性主义的视角来看，《生死场》中女性的命运是受封建社会结构所指导的。
她们的生活被束缚在封建礼教和男权社会的桎梏之下，无法自由地发展和实现自我。
小姑娘和女主人都受到了不同程度的身体和精神上的伤害，她们的命运受制于男性的意志和社会的压迫。
在这个封建社会里，女性无法获得真正的自由和尊严，她们的命运注定是被动和苦难的。
我们也可以从女性主义视角来审视小说中的男性形象。
地主和地主家的儿子们都是典型的封建统治者，在这个封建社会里，他们享受着最高的权力和地位。
他们对女性和农奴的剥削和压迫是封建统治的象征。
在小说中，男性角色的行为和态度都是符合封建礼教和传统的，他们对女性的态度往往是专制和残酷的。
小姑娘受到的欺凌和地主家的女主人所承受的痛苦，都是因为男性的专制和压迫。
通过对男性形象的审视，我们可以更加清晰地看到封建社会对女性的剥削和压迫。
在今天，女性已经取得了许多权利和地位，封建社会已经不复存在，但是女性的地位和权利仍然受到挑战。
封建社会的压迫和剥削或许已经成为历史，但是现代社会中的性别歧视和女性的不平等依然存在。
重新审视《生死场》这部小说，可以让我们更加深刻地了解女性在封建社会中所受到的压迫和剥削，也可以让我们更加清晰地认识到现代社会中女性依然面临的问题。
