The Change of Female Consciousness in Ding Lings Novel Creation

This article first explains the concept of female consciousness and the role of Ding Ling’s literature in female consciousness; then it elaborates on the female meaning in Ding Ling’s novel creation. The development and transformation of consciousness, from resistance to questioning to attachment; then an introduction to the writers who created female consciousness during the revolutionary period in both literature and life and compare; finally, introduced the content and characteristics of current female consciousness, reflecting the fact that female consciousness will gradually become successful. Keywords: Ding Ling's novels, female consciousness change

Freedom of Life and Self Pursuit: Discussion on the Awakening of Female Consciousness in Rose Gate

In the development of “new period literature,” the prominence of female family novels is a new tributary in the long river of literature development, which shows the subversion and rebellion of traditional family novels with a distinct female consciousness. The publication of Rose Gate by Tie Ning opened up a new field of female writing. Through the description of women’s life world, it shows the survival mode, life situation and survival experience of Chinese women, and shows the struggle of Chinese women’s life and the predicament of their souls in the 20th century, as well as the different salvation paths of women under these circumstances.

Vessels of Consciousness

The modern turn to psychological inwardness in the novel has often been discussed with reference to William James’s phrase, “vessel of consciousness.” Much of this chapter concerns his brother, Henry James, and his theorization of perspectivally delimited states of consciousness as a primary medium for the novel. James’s theories make a point of gendering this delimitation, claiming that female consciousness, historically constrained by lack of access to masculine vocations, actually possesses an awareness of the world advantageously enlarged by the exercise of imagination. James’s theory is placed against the backdrop of the novel’s gradual turn from epistemological to psychological veracity, from chronicling the material and social world to anatomizing the vicissitudes of consciousness as such—a transition from “character” to “psychology,” a transition made evident in Stendhal’s novel The Red and the Black. Once the twentieth-century novel establishes the vessel of consciousness as a primary component of its generic toolkit, the fragility of the vessel became apparent, and a technical gain in verisimilitude (refinement of character psychology) turned out to be discordant with the generically contracted principle of reality in previous fiction. The vessel of consciousness could no longer be confined to the novel itself, but became contingent on the participatory immersion of the reader’s consciousness as well.

KATYUSHA IN THE SMOKE OF GUNPOWDER—ON FEMALE CONSCIOUSNESS IN ALEKSEYEVICH'S WRITINGS

Alekseyevich is the winner of the Nobel Prize for Literature in 2015. He is a journalist and writer in Belarus. She is good at documentary writing. The author pays attention to female groups from the literary level, and his works have obvious characteristics of female consciousness. Taking " War’s Unwomanly Face" as an example, this paper explores women's consciousness and position in Alexeievic's works from the perspectives of women's war image, life changes before, during and after the war, and identity alienation.

Ernest Hemingway's Female Consciousness

Ernest is often stereotyped as a masculine writer as much of his work focuses on hunting, fishing, boxing, and bullfighting. With the rise of the women movement in the 1960s and feminist criticism in the department of literature, Hemingway became Enemy Number One for many critics, who accused him of perpetuating sexist stereotypes in his writing. By analyzing some female characters in his major works, this paper argues that as a skilful writer in depicting the male sphere, Hemingway has created many female characters that deserve commendation, and the mainstream of his female consciousness is positive. On the whole, his attitude toward women is fair.

Women at Crossroads: Reconfiguring the Gender Roles in Select Indian Genre Fiction

The inherent discursivity, entailing the composite category of ‘The third world women’ hinges on many contentious contours of female subjectivity, its genealogical and teleological subservience and submission to patriarchy, and the subsequent re-assertion of their identities and different female roles within the given rubric of patriarchal capitalist social order of the former colonies through strategic subversion, vis-à-vis negotiation of certain patriarchal ideals.The select novels, i.e. Anuradha Marwah Roy’s The Higher Education of Geetika Mehendiratta (1993) and Advaita Kala’s Almost Single (2007); from the discursive category of Indian genre fiction narrate two intersecting stories of two middle class Indian women, who have migrated to Delhi in pursuit of empowerment and to transcend the circumscribed trajectories of parochialism and stereotypical tropes of patriarchal order. Drawing inferences from these two texts, the present paper would like to look into the ethical question of women’s empowerment in India, so as to ‘problematize’ the much appropriated subversion of gender roles, through a ‘palimpsestic’ assertion of female subjectivity , as evidenced in the seemingly divergent experiences of the two protagonists, within the unstable contexts of a postcolonial nation. Having engaged with the contested notion ‘female consciousness’, the paper further seeks to examine the veracity of such changes in the lived experiences of the women within the ever-shifting paradigms of ‘post-national’ and ‘post-globalization’ Indian milieu, while being placed against the multifaceted impediments, faced by them to bridge the two extremes; personal and professional affairs. Last but not least, the paper would also seek to shed some light on the equivocality, bordering the genealogical and generic classification(s) of the ‘genre fiction’, often under the charade of ‘literary aesthetics’ and critical/wide reception of these literary narratives.