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Ding Ling's creative career is closely related to the process of modern Chinese revolution, ideology and literary modernity, and her life trajectory is intertwined with the microcosm of Chinese women on the road to liberation. From beginning to end, Ding Ling put her life experience and female experience into words and thoughts as a modern woman, and created a large number of female characters: the awakened May Fourth daughters Mengke and Sha Fei, Meilin and Mary who survived on the edge of the revolution, the third young lady engaged in revolutionary work, Zhenzhen in the revolutionary system, and Hei Ni in the class struggle. On the surface, it seems that the imperfection of the social mechanism, the regulations of the revolutionary system, and the class struggle have oppressed women and brought resistance to women's liberation, but Ding Ling has always shown readers a clue of androcentrism, no matter what kind of coat they wear, the male subject's patriarchal consciousness is always the most direct weapon to oppress women. In addition to the active construction of women's subjectivity, Ding Ling's deconstruction, exposure and criticism of male power constitute another fulcrum for Ding Ling's thinking on women's emancipation.
Keywords: Ding Ling; patriarchal culture; women's emancipation; Female image
As a bright star in the history of modern literature since the May Fourth Movement, Ding Ling has been stirring and up and down in the course of history. With the sensitivity and sensitivity peculiar to women, she examines the female soul with a passionate but suspicious eye, shouts out the "rebellious" words of both "love" and "sex" in a depressive environment, and "expresses the rebellious cry of a young woman whose soul bears the trauma of the bitterness of the times"[1]. In Ding Ling's massive research, the study of Ding Ling's female character sequences has always been a hot topic. Since the early 80s of the 20th century, a series of studies such as the model "From Sha Fei to Du Wanxiang" have been produced, which focus on outlining the trajectory of Chinese women in the 20th century, excavating the cultural connotations of female figures in different periods, especially the attention of the academic circles to left-wing literature and revolutionary China in recent years, and using Ding Ling's women to discuss the entanglement between women and politics/revolution has become a new topic. It should be pointed out that the question of women is fundamentally raised by the male propositions that constitute the dialogue. In discussing the issue of women's emancipation with the group of women in Ding Ling's works, male power is one of the elements that cannot be ignored. In the existing research, "The Irony of Male Power Culture: An Analysis of Ding Ling's Novel 'Night'"[2] points out Ding Ling's satire on patriarchalism among revolutionary cadres; Dong Bingyue's "Male Power and Ding Ling's Early Novel Creation" [3] analyzes in detail Ding Ling's early work (in the 20s of the 20th century) on the fate of women, reveals Ding Ling's construction of women's life and thought in the "form of reverse sexism" from the perspective of male/female binary opposition, and reveals the role of male power in Ding Ling's creation. Some studies have responded to this problem from the perspective of the male figure in Ding Ling's novels, but the overall discussion of the relationship between Ding Ling's women's emancipation and male power is not sufficient. This paper attempts to show Ding Ling's concern for the fate of women in the course of the times, from the initial attempt to overturn the inequality between men and women in the patriarchal society, to the way to build a new order of women's equality in the thorns, showing the difficult process of women's self-liberation in the long river of history, and on this basis, to explore Ding Ling's potential thinking on the issue of women's emancipation and male rights in the process of the Chinese revolution.
One
The patriarchal society and the lack of "new men" under the May Fourth wave
Since the establishment of patriarchal society, male-dominated patriarchal culture has become the mainstream culture of human society. "In the long history of development and cultural accumulation, they have not only constructed a universal and constant social form, but also constructed a deep-rooted ideology; It not only affects human economic activities, political behavior, and daily life, but also restricts all human spiritual creation. [4] Under the feudal ethics and morality of the traditional Chinese Three Principles and Five Constants, Three Obediences and Four Virtues, and the inferiority of men and women, women in ancient China were especially in dire straits. These moral norms are regarded as rational natural attributes, which are inherited and strengthened by the reproduction of generations of families under the regulation of the social system. After the social division of labor between the male and the female dominate has become the natural norm, the women living in the family do not realize that they are the oppressed side, and their living conditions have become historical rationality in the historical continuation, resulting in the unlimited expansion of male-dominated rights and the unlimited shrinking of female-dominated rights. The seriousness of the problem lies in the fact that such an unreasonable historical rationality for women gives a historically reasonable traditional affirmation of women's unreasonable situation, and makes this affirmation a rational existence of traditional women through careful traditional rituals. The ethical tradition of male superiority and inferiority of women has been internalized from generation to generation into the rational survival consciousness of women and the internal structure of reasonable existence. [5] As a result, women have remained in a state of aphasia throughout history. The advent of the May Fourth New Culture Movement, humanitarianism, individual liberation, women's liberation, scientific democracy, ...... These concepts, imported from abroad, first awakened Chinese people of insight, and then set off a women's liberation movement, from which the female subject was manifested.
It should be noted, however, that although women's liberation has been on the agenda since May Fourth, it has always been a partial liberation under the watchful eye of men. Lu Xun touched on this problem in "Sadness and Death", under the ideological indoctrination and knowledge indoctrination of Juan Sheng, Zijun finally broke with his original family and issued a declaration of "I am my own, and none of them interfered with my rights", but the final ending was that Zijun changed from "Nala who ran away" to "Nala of the family" and then became "Nala who went back". Even if it is said that the driving force of women's emancipation comes from men, and the final resistance is also inseparable from men, the key to women's emancipation lies not only in the lack of motivation for women's ideological emancipation that followed, but also in the incomplete revolution of male ideology and the entire society.
Ding Ling, who grew up rapidly by breathing the fresh air of May Fourth, appeared in the silent literary world with "Mengke", and then published "Ms. Shafei's Diary", which impacted the lonely literary world, shouted out the pursuit of female love, and challenged the right to speak to the patriarchal society nakedly and honestly. Ding Ling appeals to her own life experience to explore the fate of women, and the women in the novel are looking for the possibility of life in a lonely society and the value of their personal lives in the development of history. Ding Ling said when talking about her creative reasons: "Why did I write novels at that time. I thought it was because I was lonely, dissatisfied with society, I had no way out of my life, I had a lot to say, but I couldn't find anyone to listen, I wanted to do something, but I couldn't find an opportunity, so I picked up the pen and wanted to give myself an analysis of this society. [6] 12 Ding Ling, who was in the period of youthful restlessness, witnessed social changes and personnel changes, and could only resort to words for all kinds of encounters and helplessness on the road of life. Ding Ling pours her life experience into women, and confirms women's identity through the examination of women's situation, status, and environment.
"Mengke" is the first novel created by Ding Ling based on her own experience, which was first published in the "Novel Monthly" edited by Ye Shengtao, Vol. 18, No. 12. Mengke is a woman who walks out of the family to find a way out, she has the temperament of a new woman, breaking through the male barriers in the male-dominated social discipline, and constantly exploring new paths. Mengke puts her blood into life, but in the face of "dirty" city life, Mengke can only seek solace from the memories of her distant hometown, and misses the kindness of the old servant's mother, the innocence and beauty of the third and fourth sons, and she wanders between going back and staying. Later, after learning from her father that she was going to get married, Mengke's imagination of her hometown was disillusioned, and her last retreat would be lost, so she could only continue to find her own way out in the city. But the social reality that can be faced is that the newborn women are stepping into the abyss of history step by step. She fell into contradictions on the way forward, on the one hand, the uneasiness brought by "prosperity", and on the other hand, the anguish brought by confusion. Exhibiting herself in the crowd, Monko seems to be greatly humiliated, she wants to maintain her independence but has to maneuver between various characters, she refuses to be exposed to "a group of men who are squeezing eyebrows", but she is surrounded by a group of people who seem to be close but hypocritical.
The new education and the environment of the times have stimulated Mengke's instinct to value and practice women's own existential consciousness, but there is no space and conditions for continued "development". The survival situation and the awakening consciousness of women are always in contradiction, and Mengke is anxious because she can't find the balance between the two. In my aunt's family, only my cousin is a sober person under the "bustling chaos", she realizes that her tragic fate as a woman is a victim of the old era, and she still chooses to bear this boundless darkness and spend her life in only complaints. When she read about women's issues in old magazines, she sympathized and pondered: "I am right, especially when it comes to women in old-fashioned marriages, marrying is also equivalent to prostitution, but it is a cheap and whole ......"[7]28 This is the examination of her own experience and situation by her cousin in her 20s. "But sometimes, I have so fantasized that I am willing to make my fate worse, and more impossible to clean up, and now, a prostitute is better than me! It's also worth my envy! [7] 29 Sober realization is followed by disappointment with reality, and the life that should be realized is regarded as an impossible "fantasy". Regarding the words made by his cousin: "Mengke listened to these bold and romantic confessions that she had never heard before...... I can't help but be horrified. [7] 29 This kind of intellectual and spiritual insight has not yet left a trace on Mengke's heart. After seeing the hypocrisy of his cousin Xiaosong, the painting teacher Shuming and others under the appearance of integrity, Mengke, who was fooled, chose to escape. Escaping from the hypocritical mansion only dissolves the superficial contradictions, and the root cause behind it is still stubborn, and Mengke may be cornered, so the ending is "she is falling straight into the abyss of hell". After all, Mengke became an "object" for men to scrutinize, and she was displayed as a commodity in all kinds of eyes and clearly priced. Mengke is exhausted in this purely sensual society, and she does not realize that this road to stardom has only put her in a cage again, still a doll attached to men, and when she has not obtained the same voice and rights as men, "women are one half of a whole, but strongly attached to the other half, although they need each other in this whole"[8].
Like Mengke, it is Shafei who experiences the sadness of waking up from a dream and having no way out. In her diary, Shafi records her passionate pursuit of love and flesh, and she confides in her spiritual and physical pursuits, and she is consistent in her actions and thoughts. Shafi maintains a suspicious and unapproachable attitude towards all people and things, and the people around her (father, sisters, friends) "blindly cherish her", while Shafi only wants "someone to understand me". Shafi is in a state of infinite anxiety and depression, she wants to escape from this society but has to survive in it. She strives to find a spiritual and spiritual confidant, to find someone who can guide her, to support her, to abandon all old, feudal ideas, and she wants a man who is perfectly combined with soul and body. In the past, men enjoyed the right to have three wives and four concubines and show mercy everywhere, but now the roles have changed, and Ding Ling has given the women in her pen the right to pursue lust to their heart's content, and they realize that "I am my own". For Sha Fei, Brother Wei is "love me", and Ling Jishi is "I love". Brother Wei brings some companionship to Sha Fei's depressed life, but he can't give Sha Fei the imagination of her sexual desire, he is like a "necessity" in life, and she is Sha Fei's emotional security; Ling Jishi is a "beautiful man" who stirs Sha Fei's girl's heart, and is a "luxury" in Sha Fei's life. After she saw the despicable soul under the appearance of the gentleman Lingji, she was still willing to realize her love in Lingji. Shafi's "bold" actions are a radical rebellion against women's norms for thousands of years. In the process of pursuing spirit and flesh, Shafi experiences long-term suffering, and the hypocrisy and uselessness of men in society doom Shafi's pursuit to failure. At the same time, Shafei has also entered a period of confusion on the way to find a personal outlet, everything around her is uncertain, and all she has is enough life for her playthings.
As Mr. Lu Xun said: "How can young people generalize? There are awake, there are asleep, there are faint, there are lying, there are playing, and many more. [9] In stark contrast to the new women who are keenly aware of and awakened by the spirit of the times, most of the "old" youth are still reluctant to wake up. Mengke and Shafei, who dare to go out of the family and actively pursue the value of personal life and explore the path of life, echo the call of women's liberation in the 1920s, but what are the men around Mengke and Shafei like? Most of the male characters created by Ding Ling in the novel are still dyed with the customs of the old era. Meng Ke is surrounded by Jin Yuqi's cousin Xiaosong who plays with his feelings and painting teacher Yu Ming, and one of the two is a young man who has received a new Western education, and the other is a teacher, Ding Ling's identity setting is obviously a bit ironic. The men around Sha Fei are the weakened beggar Brother Wei, the alienated seductress Ling Jishi, and the mediocre aphasia Yunlin[10], and it is obvious that they are not ideal lovers, and Ding Ling thus shows the reader that the new women's free love is not only oppressed by male power, but also implies the reality of the lack of new men in the May Fourth Wave, and at the same time, the deconstruction of male power is also inherent in the conception of male character creation.
Ding Ling said of Sha Fei and other women: "They want to break with their families and the old society, where can they find new things? All she saw in her eyes was darkness, she really didn't like the old society, and she didn't like the people in this society, she wasn't satisfied. She wants to look for the light, but she can't see a truly ideal thing, a truly ideal person. All her grievances are directed against this society. [11] Of course, the new woman's struggle to find a way out is not only a rebellion against the patriarchal center of the object of free love, but also closely related to the organizational structure of the whole society, that is, the society as a whole still operates under the dominance of the patriarchal ideology. Mengke's several times of going out finally failed to escape the experience of being watched by the unknown male group in society. Although Sha Fei can resist the three men around her, compared to the entire male-dominated old society, her ending can only be "quietly surviving and quietly dying".
Ding Ling uses various ways to find a way out for women in society, and explores the question of "what to do after Nala runs away" raised by Lu Xun. Mengke, who pursues independent survival but falls into a patriarchal society again and again, Sha Fei, who pursues the combination of spirit and love but is isolated, and a group of female lovers who are separated from the collective and can't find a spiritual home in "Summer Vacation...... These women lived on the periphery of the old society maintained by the male order, and they moved with the ups and downs of history, rarely able to grasp themselves, so that when they entered the revolutionary field, they were faced with a situation of déjà vu.
Two
Male power in the form of revolutionary discourse and its reshaping of women
In the thirties of the 20th century, against the backdrop of rising revolutionary calls, revolutionary youth took to the streets to make difficult choices between revolution and love, and the position of women in the changing society also loosened slightly. For Ding Ling, the shift in her thinking to the "left" is not an intentional or "unnecessary" attitude, but has its historical inevitability. Ding Ling experienced the "aftermath" of the revolution in her youth, but she was never in the upsurge of revolution. It wasn't until her husband Hu Yepin died at the hands of the Kuomintang that Ding Ling truly realized that the revolution was what brought hope. At this time, Ding Ling's works began to reach the general public, expressing all aspects of society, intellectuals and peasants, urban and rural, individual and revolutionary...... She turned her enthusiasm and loneliness and pain over reality into the driving force of the revolution. "Shanghai in the Spring of 1930" (Part 1 and Part 2), "One Night", "One Day", "Tian Jiachong" and so on are all works of Ding Ling's creative turn. Consciously responding to the call of the Chinese Left-wing Writers' Union, creative work must "pay attention to the vast themes of China's real social life." Especially...... analyze the class relations in Chinese society and describe the painful situation of oppression and exploitation of the masses of the masses" [12]. Ding Ling responded positively to the call of the organization, but instead of approaching the revolution from a grand perspective, she examined the process of the revolution in subtle ways. During this period, Ding Ling hid women's writing in the collective, but she always revealed "clues". Paying attention to women's living conditions and depicting women's experiences is the position she has always adhered to from expressing the "small self" to the "big self", and it is also Ding Ling's unique mission as a woman.
"Wei Hu" and "Shanghai in the Spring of 1930" (1 and 2) are Ding Ling's attempts to turn his creative back. In 1980, Ding Ling mentioned in the Preface to Ding Ling's Selected Works for Hong Kong Readers: "'Shanghai in the Spring of 1930' is a gift to readers after I joined the Left League. At that time, I wanted to depict the hesitation, anguish, struggle, struggle, progress and decadence of intellectuals in the great wave. [13] Whether it is Wei Hu, Lijia, Zibin, Mei Lin, Mary, and Wangwei, "they are all generally troubled by the entanglement of the multiple relationships between their individual lives and external political realities, and thus complete the difficult transition of the new intellectual youth from the experience and perception of the inner self to the attention to the real world"[14]. The two novels portray two women whose life directions and pursuits are completely different. Mei Lin lives in the greenhouse built by Zibin, she is just a spiritual warmth or a kind of possessive enjoyment in Zibin's lonely life, Mei Lin feels the loneliness, boredom, and meaninglessness of life in the waste day after day; Wakaizumi's dynamism in the mass movement, "that stability, that grasp of life", brought "news" from the outside. In the contrast between Ruoquan and Zibin, she began to examine her position and think about the meaning of life. "She wants to have a place in society, she has to have relationships with other people, with many, many people. She can't just be confined to a room and entertain herself after work. [7] 281 Merlin had to find her place in society, and although the process was difficult, she took the step of finding her own social value. "Shanghai in the Spring of 1930" (No. 2) reverses the behavior of (1) characters. Wangwei is a revolutionary, but in love and revolution, there seems to be no balance between the two, and it can only be a multiple-choice question. Wangwei fell into entanglements and contradictions in the face of love and career, and finally chose revolution. Mary is a city lady who loves to enjoy all that material life has to offer. But whether she is a revolutionary or an individualist, Ding Ling does not condemn it, and it is through the various characters in her pen that she depicts the unevenness of the real world.
During the transition period, Ding Ling's characters are obviously inferior to those of "Sha Fei", but this is another way for Ding Ling to explore the survival of women, they began to find the value of life in the collective, and were no longer trapped in a narrow personal world, but the identity of women still did not escape the scrutiny of male subjects. In the wave of revolution, Meilin seems to have the opportunity to approach the revolution under the guidance of Ruoquan, but she always feels that her lover Zibin "is suppressing her everywhere invisibly." He did not allow her a little freedom, better than an old-fashioned family"[7]281. And the desire of the revolutionary, to his lover Mary, also gave rise to ideas such as "It's just that Mary is not a country woman, a factory worker, or a middle school student, if that is the case, he can lead her, and she obeys his ......"[7]381. Society seems to have set a path for women, but in Ding Ling's description, whether it is a literary youth or a revolutionary youth, women in love are still in a situation where they are suppressed and dominated by the underlying patriarchal consciousness.
It is gratifying that Ding Ling in the transition period created the image of a female revolutionary: Miss Three. The third miss in "Tian Jiachong" is a member of the revolutionary group portrait, but all the qualities that women have cannot be seen in the third miss. The author compares the three young ladies in childhood with the three young ladies after participating in the revolution, and it seems that as soon as they come into contact with the revolution, women become the same kind of people as men who no longer distinguish between gender attributes. From the perspective of the younger sister, the third miss in childhood was "what a decent, gentle girl", "she has a good-looking, lovely face, and a braided hair that everyone envies", and now the third miss in the eyes of the younger sister "This is not what she imagined, not at all, she is wearing men's clothes" "She is not reserved at all, not luxurious, and not beautiful." She is not like a young lady, or a fairy"[7]374.
The third lady was sent to the countryside because she participated in the revolution, and the countryside was described as an idyllic picture in the author's pen, far away from the revolutionary wave, and the rural people lived hard but contentedly, without feeling oppressed and exploited. The arrival of the third lady made the family set off a microwave, and cleared the clouds for the ignorance of the eldest brother and sister about the future. However, it should be noted that the third lady is the main character of the story, and the author does not show her delicate psychology and women's experience of difficult progress on the road of revolution, nor does he give a specific description of the enlightenment of the revolutionary ideology of the sister family to resist oppression, she seems to be a "tool man" who depicts the life of the sister sister in series, and the final ending is only a "hasty sacrifice".
As Ding Ling keenly felt, after joining the patriarchal order, the femininity of female revolutionaries disappeared and was replaced by the image of revolutionaries without gender. Ding Ling used the eyes of her sister to express the potential changes brought about by the revolution to women. Women who are no longer in love with the male subject seem to have been liberated from the revolution, but their place in the whole revolutionary movement is not only marginal, but also has become a person who has been drained of her femininity.
Three
A re-examination of the status of women under the Yan'an system
Ding Ling, who entered the Yan'an system, experienced the revolutionary practice of going deep into the front line, and devoted herself to creation with more revolutionary passion, and her unique experience also enabled Ding Ling to think deeply about the changes in the status of women in the new social order. The promulgation of a series of policies, such as the promotion and implementation of equal pay for work, equality between men and women, and freedom of marriage, has greatly narrowed the differences between men and women and minimized the contradictions between the sexes. However, the equality provided for in the law ignores the differences in natural attributes between men and women. Ding Ling has the unique ability to discover the inner entanglement and abyss of women, not limited to the personal experience experienced in a small living environment, but between heaven and earth.
Ding Ling uses her survival experience in the liberated areas to return to the perspective and mentality of women to examine the position of women in the open and equal liberated areas, and uses women's experience to reveal and criticize the problems existing in society. At that time, Ding Ling's understanding of life in the liberated areas could be said to have transcended the superficial structure of social life and the level of a sincere celebration of life, and had reached a serious, in-depth, and holistic sense of history. At a time when people are still singing praises for life in the liberated areas, she is already looking at life with a critical and critical eye, and although we cannot yet regard this as a kind of advanced consciousness of the writer, the profound ideological penetration and keen insight of the writer embodied in this are extremely valuable. [15] Women in the liberated areas were considered "happier than women in other parts of China," but under Ding's scrutiny, these women still lived in a "fair" environment created by men. "The marriage of a lesbian is always noticeable, not satisfying. They can't get close to a gay man, let alone a few of them. [6]61 "A woman is always going to get married, and it is even more sinful not to marry, and she will be the object of rumors and be slandered forever." And the truth of divorce must be the 'backwardness' of lesbians. [6]63 He then sharply pointed out two realities of women's "backwardness": first, Nala, who was forced to work and return to the family after marriage, was "backward" because she could not participate in public affairs; The second is that people who have the ability to work and can also be good wives and mothers are "backward" due to old age and decay more than ten years later. It is worth noting that these divorced "backward" women, who once harbored Lingyun's ambitions and experienced arduous struggles, are representatives of women's emancipation, but how can emancipated women fall into a miserable situation? Ding Ling pointed out at least part of the crux of this problem——— masculinism.
With the Yan'an Rectification Movement, the article was criticized, and Ding Ling's criticism and resistance to male power were raised to the height of politics. As analyzed by Li Tuo, He Guimei, and others, Mao Zedong was concerned with the "Chinese Revolution", while Ding Ling was concerned with "women's liberation" [16]. Although the Chinese revolution and women's emancipation have common demands, the former points to national liberation and social emancipation, and in the planning of the revolutionary cause, the emancipation of the former two is the prerequisite for women's emancipation, and only after the realization of the grand goal of socialist society can women be completely emancipated. At this time, the women's issue was a secondary issue, and when Ding Ling realized that the potential oppression of women caused by the patriarchal ideology of the revolution could not be solved, she recycled the problem back to the women themselves. She sincerely admonished women to "strengthen themselves": "First, don't let yourself get sick. Second, make yourself happy. Third, use your brain. Fourth, make up your mind to endure hardships and persevere to the end"[6]64. Returning to the question itself, Ding Ling is not aimed at the revolution, and her spearhead is still the patriarchal ideology hidden in the revolutionary system.
Thinking about this issue is reflected in "When I Was in Xia Village". Sadasada was a member of the revolutionary ranks, lurking in the Japan military camp as a prostitute accompanying the army, obtaining information for the revolution. This satisfies the demands of the national revolution, but for Zhenzhen, as a woman, she suffers from a spiritual curse that has been pressed on the head of women for thousands of years. Ding Ling's choice of female revolutionary workers who work at the cost of their bodies to unfold the story cannot be said to be without Ding Ling's reflection on the huge gap between national liberation and women's liberation. Zhenzhen was played with in the Japan military camp as an object of play, and finally became a "sick body", and returned to the village, still suffering from the "watching and killing" of the local society under the regulation of patriarchal ideology. The "silent oppression" of women in the revolutionary system is clearly displayed here.
The Yan'an Rectification Movement caused Ding Ling to shift her attention to gender issues to the great cause of national liberation, but the disclosure and resistance to male power were still implicit or explicit in her works. "The Sun Shines on the Sanggan River", which takes the practice of land reform as the theme of creation, is considered to be a novel that reflects the historical process of land reform due to the call of political policy, but it still secretly continues Ding Ling's examination and reflection on the issue of male power. In the process of land reform, the form of reform and vested interests are intertwined, making everyone have their own thoughts. But as far as the whole novel is concerned, it also shows the experiences of women in different states of existence, including Zhou Yueying, who was regarded by her husband as a "slut" in exchange for twenty sheep; There is a woman Zhao Delu who was kicked and beaten in public, and there is also Dong Guihua, who actively participated in the revolutionary construction but was complained by her husband. Judging from the survival situation of the three people, they are always male contrasts, and the final ending is to surrender to the male discourse. Ding Ling describes the reactions of these women after being beaten or scolded: Dong Guihua's answer to her husband's sarcastic words was "At that time, I promised them to be the women's director of Laozi, and Zhang Yumin told you back, but you didn't say that you didn't disapprove, we are a woman, and we marry chickens and follow chickens......"[17]87, after Zhou Yueying was beaten, "she slowly quieted down, she would obediently go to buckwheat noodles, and she would make partial food for him to eat"[17]67, Zhao Delu's woman's behavior towards her husband could only complain silently, "One summer, all shirtless, He will not let anyone have a garment"[17]65. These women may have some differences in their approach to the revolution, but they are all under the control of the mind of the male subject as the head of the family, and they are unaware of the existence and meaning of the individual and whether they can live independently of the male in the long shackles. Ding Ling failed to give an answer in the text, but she made a tentative exploration of this proposition in the body of Li Zijun, even if the overall fate and ending are regulated within the Yan'an literary system, it is an attempt by the author in the intertwining of reality and ideals. Li Zijun's cowardice, timidity and fear of things pushed the woman who was in the boudoir to the forefront. As a result, she became the party to be blamed as a "landlord's wife", Li Zijun's "fading" made the male and female genders more prominent, and her qualities as a woman were shown in the prying eyes of men, "This originally very tender hand, holding a high-legged lamp, was sent to the kang table, wiping a foreign fire and lighting it, the red and yellow light jumped on the plump face, and the eyes were more flexible and clear like a puddle of water"[17]60, "Hey, who said that Li Zijun can only raise pears, not gourd ice?" Look, he has raised that big gourd ice, and it is really a white, tender, and fat fragrant fruit"[17]187. When these men saw this, they were full of pity and sympathy for her, and forgot the purpose of coming, and the title deed was left. The advent of the revolution has given the exploited people a legitimate way to realize their rights, but in addition to Li Zijun's class identity, women still survive under the scrutiny of men, at least in language, they have to accept men's "lust" ridicule, and women with low status are still the most vulnerable to oppression and discrimination. Ding Ling glimpsed into the essence of liberation in the words of men, and even if men are at the forefront of "understanding and learning the spirit of national policies", they still cannot respect women and give them dignity. Under the discourse of class struggle, Ding Ling's treatment of various female images is not single, she is full of sympathy for them, and in the narrow living space under the pressure of patriarchal thought, she does not hesitate to show the living conditions of women, and the writer's duty is not to simply sketch the beautiful illusion of utopia, but to warn people to think about how women should place themselves in the new environment in unreasonable scenes.
Ding Ling uses the character of Hei Ni, who has the deepest affection, to profoundly express the potential male oppression under the discourse of class oppression. Hei Ni's social connections and class attributes make her a "loner": Qian Wengui treats her as something that can marry a cadre in exchange for a stable position, and Cheng Ren stays away from her and maintains a wait-and-see attitude for fear that Hei Ni's special status (the niece of the landlord Qian Wengui) will affect his "career". Hei Ni not only has to endure the calls and transactions of Qian Wengui's family, but also has to endure the emotional torture of Cheng Ren's gradual distancing. On further reflection, the true face of class oppression still comes from the deep-rooted patriarchal ideology, Qian Wengui's political speculation, Cheng Ren's evasion and hesitation, Ding Ling shows the reader two selfish male images who only care about their own interests, and they only put interests first in dealing with personal interests and emotional relationships. Ding Ling's Hei Ni is like a wounded lamb, she innocently and tenaciously waits for the person who rescued her to appear, but the result is not the person but the policy that allows her to see the light. If there is no author's "upward brightness" ending, how will Hei Ni behave in society, and what will be the ending waiting for her? Ding Ling, on the way to the seemingly prosperous road of the revolution, showed people the shadows under the sun and expressed concern for the survival of lower-class women. Here, Ding Ling is no longer a simple "shouter", but tries to construct a women's discourse in the mainstream society, providing a space for thinking for the new order of equality between men and women.
Ding Ling is a complex female writer and revolutionary, who structures her novels from an unconventional perspective and explores the profound causes of things with a holistic mind. She is not only an important participant in the literary revolution of the process of Chinese modernity, but also the constructor of modern Chinese pluralistic literature. She combines the unique female self-consciousness with the practice of the Chinese revolution to construct literature, which not only absorbs modern nutrition from the "May Fourth" wave, but also perceives the spirit of modern society in time, enters the creation of texts with the attitude of modern women, and makes continuous efforts to expand the living space of women. Although she does not recognize the identity of a feminist, her thinking on the issue of women's emancipation has always run through her literary creation, and the deep reflection on the patriarchal culture and the call for independent women are the rare historical experience that Ding Ling summed up on the issue of women's emancipation in China.
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Author's Profile
Liu Xiangmei, a native of Changli, Hebei Province, is an editor and reviewer, a doctor of literature, and is currently the director of the journal department of Hebei University. He used to be the deputy editor-in-chief and chairman of the labor union of Hebei Education Publishing House, and the director of the special issue department of Xinjiang Production and Construction Corps-XPCC Daily (Xinjiang Aid). He has been engaged in publishing for more than 20 years and has won more than 20 national and provincial book awards.
He has been selected as "Young Talents of Propaganda, Ideology and Culture of the Propaganda Department of the CPC Central Committee", "Expert Talents of Flexible Aid to Xinjiang", "Yanzhao Cultural Masters", "Cultural Masters of Hebei Province and Four Batch of Talents", "Good Editors of China", "Second-level Candidates of Hebei Province New Century 333" Talent Project, "Provincial Youth Post Experts", "Outstanding Editor Award of Lu Xun Literature Award", etc.
He won 1 second prize of Hebei Provincial Social Science Award, and presided over a number of projects at all levels, such as the special funded project of the Central Propaganda Department "The Plant World in Song Ci", and the funded project of Hebei Provincial Social Science Fund "Research on Ding Ling's Literary Activities and Literary Creation in Zhangjiakou". He has published more than 50 papers and book reviews in core journals such as Hebei Academic Journal, Publishing Science, China Editor, and Editorial Journal, as well as various newspapers such as Guangming Daily and China Press and Publication News, of which 3 articles have been reprinted and excerpted by Xinhua Digest and Newspaper and Periodical Copying Materials of the National People's Congress.
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