In her short life, my aunt took the initiative to cover women's bodies to show her approval of men's authority, but in the end she was brutally hurt by men. On the wedding night, because the groom ran away, she had doubts about her gender. From then on, she began to take the initiative to obliterate the gender difference as a woman and cover her body: wearing men's clothes. Her body has not been awakened, so women's self-gender consciousness is covered up, which is a manifestation of unwillingness to face up to their female identity in a patriarchal society. Tie Ning said: "Only when we face ourselves squarely can we explore ourselves. Every time we explore ourselves, it is another discovery of the world. " Menstruation failed to complete his own development, but tried to dress like a man, trying to find some protection in a patriarchal society with a dependent attitude, but the result was that he lost himself. In the end, what she struggled for was precisely the harm that men did to her in gender consciousness.
Wen Qi, who woke up physically, had a fatal prejudice against "sexual relations" and spent a long life with a twisted mind. When Zeus first combined with Hua Zhiyuan, the body felt that "this is both an attack and a sucking", and the soul woke up with the initial awakening of the body. Looking at her body, "I feel very stiff and lazy, and I feel very scattered and complete", and a complex feeling rises in my heart, as if "it is pity for myself and disgust for myself". This can be said that women's self-gender consciousness has played a role in Si's mind, and she began to realize the differences of women's bodies. With this physical awakening, a vague hostility towards men germinated in her heart. After entering the marriage, this hostility became more and more intense because of the husband's ridicule and contempt for himself. Zhuang Shaojian's insult to her body gradually plunged her into the abyss of pain, and her soul suffered from the division and distortion caused by physical pain. "Over the years, Wen Qi has practiced the technique that if her soul is rejecting something, she will force her behavior to love something more." She began to take crazy and abnormal revenge on men: first, she desecrated her female body to her father-in-law and smiled contemptuously; After her husband died, she tried her best to take care of the whole family as the most favorable explanation for defeating men.
In the relationship between men and women, Wen Qi tried to "devour the opposite constantly with negativity, and constantly expand himself, so as to realize himself". This intention made her put men and women in a position of confrontation. In order to express her self-awareness, she achieved the goal of "breaking the chain of the other connecting with the outside world and suppressing and rejecting the' non-self' world" by suppressing the male self-awareness. When Wen Qi is old, she still pays attention to her clothes and likes painting. She is trying her best to show men the gender differences as a woman and is eager to be recognized as a woman. But her abnormal psychology, distorted life and crazy behavior have made her as a woman's soul extremely distorted. As Tie Ning said: "She is always harassing and desecrating her living environment in her unique way. Every victory she tramples on the environment is a trampling on her own soul." Due to the deviation between the beauty of the body and the evil of the soul, and the awakening of the body and the awakening of the soul, Wen Qi failed to win the true gender significance of women. She brought women from one oppression to another-if the previous patriarchal society gave women more bondage, then women who have not awakened their souls have put on shackles themselves.
Zhu was awakened by the physical impulse of life instinct and restrained the awakening of soul, while her blindness and fanaticism forced love to escape every day. Zhu Xi is a woman with relatively sound body and mind. Compared with her aunt's sense of shame about her body, Zhu Xi boldly loves her plump body full of femininity. After taking a shower, she "casually turned her body to her eyebrows" and made no secret of the beauty of women's bodies. Compared with the distortion of Alice's soul, the instinct from life purifies Zhu's mind and makes her behavior aboveboard. Tie Ning once said: "People who know how to appreciate themselves and dare to openly appreciate themselves are lovely." Zhu Xi's physical awakening comes from the subconscious and is driven by life instinct, which makes her blindly pursue the pure state of Eden when dealing with sexual relations. She is not keenly aware that she should strive for the gender significance as a woman in the relationship between the two sexes. Her soul didn't wake up, which led to her blindness in love and fanaticism with primitive impulse. Her attack forced the men who liked her to retreat again and again, and eventually led Ye to flee from her and go to her soul mate Samui.
The awakening of the body means that Alice and Zhu have taken the first step of women's self-awakening, but because their souls have not awakened, they have not really got rid of the fate of being teased and hurt by men.
Su Mei's growing process completely explains the difficult process of women's awakening from body to soul. When I was a child, Samui admired Zhu Xi's bodybuilding, and obtained the gender identification for the first time. Since then, her soul has been constantly stirred and sublimated in the relationship with her mother-in-law, Wen Qi. After sublimation, the soul inquires about Su Mei's realistic living state again and again, which is directly reflected in the soul monologue at the back of each chapter: Su Mei saw the tragedy of women's awakening in her mother-in-law, so as to examine herself and gradually eliminate the hidden evil of human nature in her heart as a woman. This kind of self-torture of the soul fully shows Su Mei's road to soul awakening. In the end, because she didn't intend to participate in the rape arranged by her mother-in-law, Su Mei deeply realized the selfish and cruel side of human beings, and the awakened soul was shocked by this, prompting her to decide to escape and escape from her mother-in-law's sight. Samui's departure is inevitable. After the awakening of the soul, Samui matured step by step. Her maturity embodies the life experiences and heavy accumulation of several generations of women, such as Zhu and Si, and gives her a thorough understanding of female tragedies. Su Mei's departure shows a gesture: she is determined to create a brand-new female image in order to get rid of the fate of female tragedy and realize women's self-liberation. Many years later, my sister Su Wei recalled the night when she fled with Samui, and said, "I didn't need to know anything at that time, except to follow you. As the nursery rhyme goes,' We will always follow you and mankind will be liberated. After leaving, the image of "fish swimming in the water" often appeared in Su Mei's mind. It can be seen that her self-liberation has always been accompanied by thinking about the nature of gender relations, and her self-liberation inherently requires the establishment of new gender relations. In the face of Ye's pursuit, she didn't hate the North as her mother-in-law did and then desperately suppressed him, nor did she pounce on him with a primitive desire like Zhu. She carefully examined Ye and had a spiritual equal dialogue with him as a woman. She tries to show gender differences and gender significance of women in harmony with men. We can see the hope of women's self-liberation in Samui. The main part of The Rose Gate uses the third person to tell the story, showing the social reality and the fate of the characters. In the last section of every even chapter, the first person and the second person are combined, and the confession of "I" (adult Su Mei) to Su Mei as a child is used to express Mei Mei's mentality at that time, as well as the adult Su Mei's evaluation of his childhood mentality, behavior and living environment, and at the same time take this opportunity to express his outlook on life and art.
Through the third-person narration, the works have carefully shaped a series of characters such as Si, Su Mei, Aunt Luo and Ye. By describing the alienation, grotesque and radical behaviors of the characters, as well as the entanglements and complex relationships between the characters, it reveals the poison of the specific social environment (Cultural Revolution) on people's minds, the catalytic effect on people's personality alienation and the control effect on their fate. In this novel, Tie Ning is like a doctor with many years of rich experience. He used the diagnostic methods of "seeing, listening and asking" to "diagnose" all kinds of characters: Svenyi's "desire for expression" (expressing his talents to prevent others from ignoring, despising and bullying him) and "voyeurism" (discovering other people's privacy to "compete" between people).
In order to strive for perfection, make up for the deficiency of simple third-person narration and show a broader content, Tie Ning changed the last section of each even chapter to first-person and second-person narration. The transformation of people is used to describe Samui, and the confrontation between adult Samui and young Samui is used to show Samui's inner cry, so that readers can listen to her as if sitting next to Samui and feel her spiritual growth process. It greatly shortens the emotional distance between Samui and the recipient, giving people a sense of closeness and realism. At the same time, the author expressed his outlook on life and values through the words of adult Samui. Although the sudden change of the narrator's name and the different time-space conversations of the same character give people a kind of "discomfort" at first reading, its positive effect on the expression effect of the work can not be ignored.
In the third-person narrative, the author introduces the unknown past lives of Zeus and his "entanglement" with his life, and describes the whole story as a whole. However, this narrative method lacks the description of the characters' hearts, which easily leads to readers' lack of understanding of the works due to lack of information. Therefore, in the last section of every even-numbered chapter, the author skillfully shows Mei Mei's inner world through the psychological dialogue between adults and young Mei Mei, thus supplementing the performance content of the work and letting readers know the characters' inner depths, so as to have a detailed analysis and in-depth understanding of the work.
In the fifth section of the second chapter of the work, the author tells the singing events of young Su Mei and adult Su Mei together through the second person dialogue. In fact, she is telling readers that it is not that she can't sing five tones, but that her mother-in-law's interference has made her lose the courage to sing, so that readers can deeply understand the influence of literature on growth. It is further pointed out that Mei Mei's reason for pushing her mother's belly is not valid, nor is it her answer to others "because her mother's belly is too ugly". The fundamental reason is because she knows that "there will be a life to accompany you." This little life will exist with her between heaven and earth, and will compete with her for the time and space for survival. So Samui unconsciously pushed her mother's stomach in an attempt to kill this little life. This true and naked description of the potential "evil" of human nature makes readers understand the psychology of Samui in childhood and a precocious Samui, and at the same time, they will have a deeper understanding and grasp of the story of "Ivan Reddy killed the child" mentioned many times in the novel. It is the author who perfectly combines the third-person narrative with the first-person narrative and the second-person narrative, creating a beautiful artistic effect. It is impossible to express such content information perfectly if only the third person narrative is used.
This transformation from the third person to the first person and the second person shortens the aesthetic distance between Samui and the receiver, and greatly enhances the sense of realism and intimacy of the novel. After the change of narrative mode, the narrator and Su Mei merged into one, which greatly shortened the cognitive distance between the characters and the readers, strengthened the readers' awareness of "participation" and gave the recipients an immersive feeling.
In the work, the author describes the plot of a five-year-old eyebrow pushing his mother's stomach. In the third-person narrative above, she only confessed that "maybe she cried because she didn't tell her parents the real reason, and she concealed the real reason". The real reason is that the author didn't explain it in the third person. Because the author understands that the third-person direct narration can certainly make readers get some information from it, but this way obviously gives people the feeling that the author is manipulating the narrator behind the scenes, which makes this reason have an obvious tendency to identify with the author. Therefore, Tie Ning skillfully put the explanation of this behavior in the last section of this chapter. Explain it in the way of adult Napoleon wrasse's childhood memories, which come from Mei Mei's heart and will naturally induce readers to believe and agree with it. This expression not only makes readers understand the external truth of Su Mei, but also understands the psychological truth of Su Mei. It not only narrows the distance between the reader and the work, but also narrows the distance between the reader and the character Su Mei, which greatly enhances the intimacy and realism of the work.