【論文摘要】:白流蘇作為張愛玲《傾城之戀》中“窮遺老的女兒”兼都市型女性代表的舊式女性形象,同時(shí)也是張愛玲對(duì)女性價(jià)值和地位透視與探析的典型產(chǎn)物。本文將結(jié)合中國傳統(tǒng)宗法父權(quán)社會(huì)體制,以白流蘇的‘出走’和‘歸來’為主軸,對(duì)白流蘇在生存困境中對(duì)情愛婚姻的艱難抉擇及復(fù)雜糾結(jié)的心理活動(dòng)進(jìn)行了細(xì)致的描寫,努力復(fù)原作為一位年輕寡婦在封建傳統(tǒng)禮教背景下,在新舊社會(huì)交替時(shí)面臨的尷尬處境。從而展現(xiàn)一個(gè)有著強(qiáng)烈“自救”精神的舊式女性在自我角色追求時(shí)面臨的困惑,然后深深反思究竟是社會(huì)道德價(jià)值評(píng)判規(guī)則在演進(jìn)過程中對(duì)人的動(dòng)搖還是女性自我獨(dú)立意識(shí)覺醒不得不遭遇的瓶頸。 【關(guān)鍵詞】: 白流蘇 自我價(jià)值 父權(quán)社會(huì) 自救 Abstract: white tassels as Zhang Ailing, "Love in the City" in the "poor survivors of the daughter," and representatives of the old city-based women's image of women is also Ailing perspective on the value and status of women and of typical products. This will combine the traditional patriarchal social system, white fringed 'exodus' and 'return' as the main, white tassels on the plight of love in marriage survive the difficult choices and complex tangle of psychological activities of the detailed description of efforts to recovery as a young widow in the context of the feudal tradition, decency and propriety, in the face at the alternative embarrassing situation. To show a country with a strong "self" spirit of the old women face in the pursuit of self-role confusion, and deeply reflect on whether the moral values of society judge rules on the evolution of human self-shake and women have experienced the awakening sense of independence bottleneck. Key words: white tassels; self-worth; patriarchal society; self