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中国古代封建社会是一个男尊女卑的男权社会。女性社会地位低下,男性掌握了话语权。他们按照自己的审美标准和尺度来判断美女。不同的人的审美标准和尺度是不同的,于是就出现了许多不同的审美观念。拥有沉鱼落雁之容和闭月羞花之貌的女子被普遍认同为美女。但是,所谓的美是包括内在和外在的,内在的心灵美有时候还能弥补外在美的不足。在比较多的文学作品中,是外在美和内在美并重的,它们俩相互依存,相得益彰,共同构成作家们理想女性的最高标准。拥有一般人没有的美貌对于任何一个女性来说,都是希望之中的美事,都是十分值得骄傲的,她们应该很幸福。但在古代动乱的年代,美女的命运却是十分悲惨的。对于统治阶级而言,美女只是他们用来实现自己的经济政治利益的工具,进而达到其他手段不能达到的效果。在文学作品中,美女有时候又只是表达情感的理想载体。
Ancient Chinese feudal society is a patriarchal patriarchal society. Female social status is low, men have the right to speak. They judge the beauty according to their own aesthetic standards and standards. Different people's aesthetic standards and standards are different, so there have been many different aesthetic concepts. The woman who owns the graceful face and the moonlight shame is universally accepted as a beautiful woman. However, the so-called beauty is both intrinsic and extrinsic. The inner beauty of the mind can sometimes make up for the lack of external beauty. Among the more literary works, both the external beauty and the internal beauty are equally important. Both of them are interdependent and complement each other and jointly constitute the highest standard of the ideal women of writers. It is very proud that having the beauty of the ordinary people is the beauty of hope for any one woman. They should be very happy. But in the era of ancient turmoil, the fate of the beauty is very tragic. For the ruling class, beauty is only the instrument that they use to realize their own economic and political interests, and thus achieve the effect that can not be achieved by other means. In literary works, beauty is sometimes just the ideal carrier of expressing emotion.