论翟永明诗歌中母女关系.pdf

摘 要 在中国，母亲形象带有一定的神话色彩，母女关系处于二元对立的矛盾中。母 亲在母爱神话的驱使下产生母性自我压抑，导致女儿难以寻得感情上的满足并因而 带有一定的自我压抑。在围绕母女关系的诗歌中，翟永明通过与同性家长（母亲） 的区别、冲突、联系进行自我确认、自我成长，在一定程度上突破和解除了自我压 抑，从而确立起自我意识和主体意识。 翟永明集中处理母女关系的诗歌有三篇：《母亲》、《死亡的图案》以及《十四首 素歌》。本文主要围绕这三首诗歌，在女性主义的视角下，运用心理学的相关理论， 通过细读的方法对诗人笔下的母女关系进行梳理和分析。 《母亲》写于80年代初，主要表现诗人源于童年的被遗弃体验所带来的精神压 抑，企图以颠覆孕育的神圣含义和截断母亲的传统来建立自己的主体意识，我们发 现她在对生命抗拒和质疑的表象下其实是对生命的更深层次的热爱。1987年《死亡 的图案》主要是为了清理诗人“体内的死亡气息”，本着“生者是死者的墓地”的死 亡观，诗人发现母女其实是同一性别同一血脉的轮回关系，与母亲共同面对死亡的 经历消解了前一阶段母女关系的激烈矛盾，同时承接起诗人90年代写作风格的转变。 到《十四首素歌》的诞生时诗人已经具有与世界交流的意识，在转向平淡细微的客 观描述风格的同时，对母亲这个形象的观照也进入了一个理性、客观的新阶段。 关键词：翟永明；诗歌；母女关系；主体意识 I Abstract In china, the image of the mother is full of mythological color, and thus the mother daughter relationship is a dualistic antinomy. Under the drive of motherhood, the mother has a sense of self-oppression, which causes her daughters emotional dissatisfaction and therefore self-oppression. In Zhai Yongmings poetry about mother daughter relationship, the daughter grew continuously during the confliction with her mother, and finally eliminated the sense of self-oppression and thus formed her gender consciousness and self-awareness. There are there poems of Zhai Yongming focusing on topic of mother daughter relationship: Mother, the chart of Death and fourteen Songs. This paper analyzes the mother daughter relationship created by zhai in the angle of psychology and feminism. Mother was written in the early 1980s, which mainly embodied poets spirit oppression caused by the abandoned experience of her childhood. The daughter attempted to weaken the sacred light of the mother nurture and cut off the mothers tradition to establish her self-awareness. At the same time, her suspicion a