從悲劇到悲劇—由傷逝子君的悲劇反思當(dāng)代女性婚戀觀(guān)畢業(yè)論文-展示頁(yè)
2025-07-03 14:20本頁(yè)面
【正文】 透著“悔恨與悲哀”。通過(guò)再次認(rèn)識(shí)和審視《傷逝》中子君的愛(ài)情悲劇的原因，并以此為切入點(diǎn)，完成其現(xiàn)代視角下的悲劇解讀，并結(jié)合當(dāng)代女性婚戀觀(guān)和婦女解放這兩個(gè)命題進(jìn)行反思，對(duì)引發(fā)當(dāng)代青年樹(shù)立正確婚戀觀(guān)以及引發(fā)其探索能夠走出婚戀困境的出路具有重要作用。這對(duì)于當(dāng)代青年樹(shù)立正確的戀愛(ài)觀(guān)有著積極的現(xiàn)實(shí)意義。該小說(shuō)是魯迅先生在跨越了痛心于“婚姻不自由”而抨擊封建主義的階段，勇敢地面對(duì)新的現(xiàn)實(shí)和人生，進(jìn)行新的題材選擇和創(chuàng)作構(gòu)思階段的成功之作。而女性要實(shí)現(xiàn)人格獨(dú)立，既需要女性自我意識(shí)的覺(jué)醒，也需要全社會(huì)的關(guān)注?？梢?jiàn)，人格獨(dú)立對(duì)當(dāng)代女性樹(shù)立正確婚戀觀(guān)以及引發(fā)其探索能夠走出婚戀困境的出路具有重要意義。事出同因，可見(jiàn)這亦是悲劇。但在婚戀已高度自由的背景下，越來(lái)越多的女性卻深陷另一個(gè)困境——即側(cè)重經(jīng)濟(jì)因素的婚戀觀(guān)束縛女性婚戀并使之畸形發(fā)展。關(guān)于女性婚戀觀(guān)的論作不斷出現(xiàn)，也涌現(xiàn)出了一些影響深遠(yuǎn)的作品，如魯迅的《傷逝》。從悲劇到悲劇—由《傷逝》子君的悲劇反思當(dāng)代女性婚戀觀(guān)中文摘要女性的婚戀觀(guān)一直是我國(guó)社會(huì)普遍關(guān)注的問(wèn)題。它是文學(xué)的永恒主題，也是婦女解放的突破口和文學(xué)發(fā)育的生長(zhǎng)點(diǎn)。從當(dāng)代社會(huì)看，當(dāng)代女性很少再受封建禮教的壓制，社會(huì)和經(jīng)濟(jì)地位也相應(yīng)提高，理應(yīng)會(huì)擺脫子君的愛(ài)情悲劇而得到幸福。表面上這與子君的悲劇并無(wú)聯(lián)系，但側(cè)重經(jīng)濟(jì)因素實(shí)質(zhì)上是當(dāng)代女性人格不獨(dú)立的外化表現(xiàn)。子君的悲劇和當(dāng)代女性的婚戀困境產(chǎn)生的實(shí)因都是人格不獨(dú)立。它是當(dāng)代女性幸?；閼俚幕A(chǔ)及其解放的真正出路。[關(guān)鍵詞]《傷逝》；愛(ài)情悲?。唤?jīng)濟(jì)因素；當(dāng)代女性婚戀觀(guān)；人格獨(dú)立From Tragedy to Tragedy the Introspection of Contemporary Female Marriage by the Tragedy of Zijun in Gone LoveAbstract The female marriage has always been the issue that appealed much concern of the society. It has bee the eternal issue of literature and, also the breach of women’s liberation and the vegetative point of literature development. Works concerning the women’s marriage arise ceaselessly, including some far—reaching productions such as The Gone Love by Lu Xun. Contemporary women rarely suppress by feudal ethical code in modern society as their social and economic status have been raised relatively. That means they ought to get rid of love tragedy to gain the happiness they deserve. Nowadays though under the condition of marriage highly freedom, more and more women up to the chin the other dilemmaview on love and marriage which particular empress on the economic factors fetter contemporary female marriage and go to deformed development. Seemingly, it has nothing concern about the tragedy of Zi jun, empress on economic factors actually turn out to be externalization of contemporary women who lack of dependency. Both two kinds of marriages share the same reason, which we can say they both tragedy. The reason to the tragedy of Zijun and the marriage dilemma of contemporary women are lack of dependency on their own characters. Thus it is clear that, character independency is very important for contemporary women building their proper view of marriage and triggering the way out from the marriage predicament. Independency is base of contemporary happy marriage and also the real outlet for women. While women who want to realize independent personality, she not only needs the selfconsciousness awakening, but also the concerns of the whole society.Key words: the Gone Love, love tragedy, economic factors, contemporary women’s view of love and marriage, personality independence 前 言《傷逝》是魯迅先生唯一一部以青年戀愛(ài)和婚姻為題材的作品。它包含了深邃的思想和豐富的意蘊(yùn)，給人以新鮮的啟迪和思考。據(jù)此，《傷逝》成為學(xué)術(shù)界探討婚戀觀(guān)相關(guān)問(wèn)題的重要切入點(diǎn)。一、 子君的愛(ài)情悲劇產(chǎn)生的主要原因及其當(dāng)代性啟示（一）子君的愛(ài)情悲劇產(chǎn)生的主要原因《傷逝》記錄了受“五四精神”哺育的新一代知識(shí)青年涓生和子君的愛(ài)情故事。他們這一由浪漫轉(zhuǎn)入婚姻生活的愛(ài)情悲劇，始終讓后人有一種無(wú)法訴說(shuō)清楚的困惑?！秱拧分凶泳膼?ài)情悲劇主要是由于封建禮教的壓制、子君和涓生的個(gè)人性格缺陷以及子君的人格不獨(dú)立這三個(gè)因素造成的，而人格不獨(dú)立則是主因。 這個(gè)“鐵屋子”就是封建禮教，它是一個(gè)吃人的社會(huì)，是毀滅子君和涓生愛(ài)情綠洲的兇手。在他們眼中，青年男女之間有的應(yīng)該只是“父母之命，媒妁之言”，而不是自由愛(ài)情。涓生和子君的婚姻自
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