Who can help me get a ppt from traditional to modern?

China's new female culture has gone through two important historical processes: first, with the help of male allies, it tried to change the established position and position of female roles in traditional culture; Secondly, in the process of self-formation and self-survival, they try to understand and get rid of the ubiquitous patriarchal state. The latter has put them in a dilemma similar to fighting alone. Keywords Feminine culture Feminism China traditional modernization-China women in traditional culture China women's culture has formed a deep-rooted traditional cultural connotation with the formation of China's long patriarchal feudal social form and cultural form. In this connotation, "gender/position/role/attribute" is an important cultural identity symbol. The relationship between them is inseparable, and the appearance of any symbol also means the coexistence of other symbols. In practical application, they have become alternative reference objects. Assuming that a person is born a "woman", then she "consciously" herself in this life through social consciousness. Yin position, namely "Kun position", has been defined as "Kun, Shun also" in the Book of Changes written by China in ancient times. (1) Shun means obedience. The reason why we should "obey" is because this position is "humble", and the yang is the deity, and the yin is inferior because it is below. "In ancient times, women were born for three days, and under bed, ... it can be seen that they are humble and weak, and their masters and servants are also." (2) This is the embodiment of China's concept of "men are superior to women" entrenched in the depths of national consciousness for thousands of years. At the same time, her role distribution has also been doomed: to be a daughter-in-law, a wife and a mother. Before that, she must receive a whole set of female moral education in her mother's family (as a daughter) to make careful preparations for playing these roles in the future. Therefore, in the feudal society of China, as women, their highest life value and virtue norm is to be a filial wife, a good wife and a good mother. They will be greatly respected by the patriarchal society and recorded in the ancient books of male dictatorship, although most of them are still anonymous and only appear under the vague names of a family, a wife or an anonymous person. For example, the filial piety of Liu, the first lady of China and South Korea, recorded in Ming History: she cured her mother-in-law's illness many times with her own flesh and blood as a medicine guide, saved her mother-in-law's life and delayed her death. (2) This is a daughter-in-law's most perfect filial piety with the most painful "year" punishment. It shows the limits of a series of filial obligations that a woman must fulfill to her in-laws, and also shows the bloody way and essence that a woman must have to practice a perfect female virtue. Among the various versions of the story about the autocratic process of Empress Dowager Cixi in the late Qing Dynasty, the most talked about is that although Empress Dowager Cixi is a mother, she is still afraid of the cowardly Empress Cian, because it is rumored that Cian holds Xianfeng's legacy. Therefore, Cixi used meat as medicine in her filial piety to her wife. Therefore, Ci 'an was greatly moved by Cixi and breathed a sigh of relief. Finally, he burned the secret marsh left by Emperor Xianfeng to protect the safety of the main palace. (4) It can be seen that people praised and admired filial piety in society at that time. Cixi took advantage of this and cleared the resistance from the palace for her authoritarian participation in politics. A good wife, in today's China, is still the most common psychological expectation for husbands to get married, and it is also the social evaluation of whether the wife's role is competent. In the traditional culture of China, due to the master-slave nature of the relationship between husband and wife, the duties and obligations of a wife exist to meet the needs of her husband. Ban Zhao, the sage of female education in the Han Dynasty, vividly said: "Husband is heaven, and heaven cannot escape, and husband cannot be separated." 6. Things are easy for a husband. How to "do things"? First, to help the husband's career and life, this is called the wife's help. Tan Jier in Yuan Guan Hanqing's famous drama "Wangjiang Pavilion" can well represent the role of this kind of internal help: Bai Shizhong, as the manager of Tanzhou, was helpless in the face of Yang's official's son waiting for the emperor's sword and gold medal to take his head, and his wife Tan Jier stepped forward and pretended to be a beautiful fisherman, addicted to wine and wine, and earned Yang's sword and gold medal, thus saving her husband's official position and life. The second is loyalty to her husband, from one end to the other, whether her husband is alive or not. Although it was destroyed by the Cultural Revolution, the stone archway of Zhenlie, which still exists in China, was bought with the youth and life of a virgin. Perhaps it can be explained by the attitude of a male parent to his wife in Cao Yu's masterpiece Thunderstorm (1934): Zhou told his wife to take medicine, but Mo's wife said she didn't want to take it. Zhou said, "Even if you don't take care of yourself, you should set an example of obedience for your children." An obedient role model "is the most important and specific requirement and recognition of traditional culture for the quality of a good mother." Secondly, China women who have been baptized by modernization, and China women's cultural model of "being a good wife and a good mother", suffered the first major impact in the drastic social and ideological changes in China at the beginning of this century. People of insight at that time, faced with the reality of corruption and decline in China, felt the corruption and decline of the feudal system, and their hearts changed, so anti-feudalism became the mainstream. Modern western culture, with its material civilization, academic thought and military aggression, has driven China, which is weak in national strength and wide in doors. It has not only caused great shock to Chinese people, but also caused Chinese people to reflect and criticize their own culture, especially the non-human female culture. In the vision of paying attention to the future of the country and the nation, in the vision of paying attention to the "humanitarian" situation. The inhuman treatment suffered by women has aroused unprecedented concern and is urged to improve it. In this case, China's "men took over women's rights and opposed feudalism". In this struggle to overthrow the inherent feudal order, women can be said to have unconsciously become natural accomplices, participants and beneficiaries of "women's liberation". In addition, outside the mainstream of women's cultural traditions in China, there have been voices against women's cultural traditions. They are not satisfied with their destiny, but change their cultural gender by changing clothes, thus changing their fatalistic identity and status; Therefore, umbilical body is not inferior to male talent in the ranks of male roles; Thus breaking the myth that men and women have different abilities and intelligence. For example, Hua Mulan disguised as a man as her father and joined the army in the famous poem Mulan written by Yuefu in the Six Dynasties, and Yu Lijun disguised as a man as the champion in the long drama Rebirth. Qiu Jin (1875- 1907), an anti-feudal warrior who appeared in the late Qing Dynasty, is the inheritor of this intangible tradition. China's traditional female culture forced her to become such a woman: when she embarked on the revolutionary road, that is, when she had to give up being a "good wife and mother", she had to abandon her husband and children and leave home. She often wears a man's suit to participate in social activities. Can this anti-traditional behavior be proved in turn? Even Qiu Jin, as a revolutionary, still takes cultural clothing as her gender, which hides her potential recognition that women should be good wives and mothers? But to her family, she is actually an out-and-out unfilial wife, immoral wife and incompetent mother. This may be the secret pain that Qiu Jin often laments that he can't be a man. "At the same time or later in Qiu Jin, a group of women who grew up in China's more enlightened aristocratic families or intellectual families despised and rejected their traditional roles before gaining the modern flavor of the West, especially the feminist thought. For example, Jiang Yang's aunts must have been deeply influenced by the western feminist thought at that time, otherwise it would be difficult for them to make a decision: although they were married at the behest of their parents, they "broke off their relationship with their husbands after marriage", especially my third aunt, Yang Yinyu, whose husband was an only daughter, who not only scratched her husband's face, but also refused to go back to her in-laws' house, let alone have children. After abandoning the role of "wife and mother", she studied hard and worked hard, studied in Japan and the United States successively, and engaged in women's education until she became the president of Beijing Women's Normal University. They were attended by a large number of female representatives who ran out of their homes, husbands and feudal marriages around the May 4th Movement. They hate traditional culture, and they try to change their traditional destiny from the knowledge of modern western culture, thus leading a different life from their ancestors. At the same time, in China's vast areas and many families, "good wives and good mothers" are still emerging. For example, the character Rhea in Ba Jin's novel Home. Ba Jin used the traditional classic female image, a typical image of "a good wife and a good mother" to portray her death, instead of repeating the old tune of "one good turn deserves another", but with the destruction of her tragedy, it involved the revelation that traditional female roles actually had no way out. This undoubtedly urges people to reflect from another angle: China women can only accept modernization. Only by liberating yourself from the traditional role can we have a way out and vitality. The women's liberation in China, which was difficult and complicated in the gap between China's tradition and modernization, unexpectedly fell into the process of national revolution and class struggle in China, and was successfully completed with the victory of proletarian political parties and the establishment of proletarian political power. Since then, due to the need and urgency of the anti-feudal task, women's issues have no longer been valued and put forward. This has caused a strange phenomenon: under the appearance of women's liberation, four women take part in social work and get equal pay for equal work; Under the condition that women are indifferent to their own gender consciousness, if women hold up half the sky and men and women are the same, gender oppression and gender discrimination still exist strongly in the revolutionary camp, social relations, interpersonal relations, family relations, the relationship between heaven and wife and personal consciousness. In fact, the task of opposing feudal cultural consciousness for thousands of years is far from complete and impossible. Women in China have fallen into a situation of being sensitive to gender issues, vague in understanding, insincere and unspeakable. Ding Ling, a female writer who turned from talking about individuals (women) to talking about the masses (revolution), wrote a little observation and thinking about women's issues between writing a large number of revolutionary works in the 1940 s and 1950 s, and was regarded as a dissident by the revolution until she stopped writing and speaking in the Great Northern Wilderness. It can be seen that the ideology at that time was taboo on women's issues (of course, there were other issues), and China re-examined women's issues in what was called the second ideological emancipation in this century. Western modern thoughts, including feminism, once again took advantage of the general climate of world cultural exchanges and the opportunity of China's accelerated modernization to openly flood into China, bringing innovative accelerant to the ideological and cultural circles. In the relaxed and active humanistic environment, cultural women in China began to try to face the problems of gender discrimination and gender oppression when male chauvinism. Female writers began to put forward this question and think about it in their own literary articles. The role connotation of "a good wife and a good mother" has been questioned and analyzed unprecedentedly at the historical level of gender relations. In Chinese mainland, she was obviously enlightened by western feminist thoughts and infiltrated by feminist discourse. As for professional women, they never realize that they are female gender, or taboo, or vague, but they realize and emphasize their gender and bring their gender awareness into their work or works. People can clearly see that a group of female writers emerged from the late 1970s to the early 1980s, from trying to create works synchronized with male writers to finally telling their own experiences and stories about gender issues consciously and unabashedly. Zhang Xinxin's On the Same Horizon is the first to sharply reveal a problem that people have avoided talking about for a long time, or can't explain clearly: that is, even women with good cultural literacy education can't take into account the roles of career, independence and being a good wife and mother under the current gender consciousness in China; At the same time, she also reveals the unique dilemma of the intellectual women in contemporary China, that is, to love, one must sacrifice oneself and personality. For example, in front of your lover, it is best to show only your femininity, be gentle and obedient to your lover, and be careful not to show that you are smarter than him, more successful in your career, or just have more social affairs; But at the same time, you can't be a completely good wife and mother in a purely traditional way, because he will never like a woman who has no self and personality at all. This is how the heroine in Zhang Xinxin felt when the hero accused her of being too strong:' I am not strong at all, but you pushed me to the road where I had to rely on myself. "But when she really depends on herself, she will face losing his love because he doesn't appreciate her being too strong. 6. Therefore, the modern intellectual women in China have to be the three married professional women hiding in Zhang Jie's Ark. Of course, if they run away from home and their husbands run away from home, they can't be "good wives and good mothers". At the same time, they can't be excellent and successful professional women, because they can't run away from men (colleagues and bosses) and society (everyone) anymore. In fact, from women's experiences at home, we can basically understand their social experiences. Home has always been the epitome of the country in China. At the same time, the works of another group of female writers show that it is doubtful whether the traditional female role exists even in the working class other than intellectual women. Fang Fang, a woman writer famous for her realism, in Scenery of Shanghai and Chi Li in You Are a River (⑩), let readers face such a cruel fact for the first time: how to be a "good wife and mother" in such a living situation? When evaluating public moral values, they may be; But in the eyes of his family, it may not be at all. Can Xue is regarded as a writer with modernist writing style. She often writes more women than his wife, mother and daughter. The Chinese feminist literature that has attracted the attention of critics (including critics) in recent two years, such as the poetry creation of Yongming Zhai, Yilei, Tang Yaping and Shao Zang, the novel creation of Lin Bai, Chen Ran and Mei Zhao, and the prose creation of Ye Meng, Thaung Myint and Huang Lin, shows that among the new generation of intellectual women, there is a new female discourse that is unprecedented in China traditional literature and obviously inspired and edified by contemporary western feminist discourse. For example, Lin Bai's "The Fatal Flying Team" is obviously similar to the metaphor of "flying is a woman's posture" by French woman writer Elena Sisu from writing behavior to works: women fly with language and let language fly. ⑥ Lin Zizai's novels made modern urban women kill their husbands and their lovers who suffered sexual humiliation and injustice after Li Ang's traditional rural women became insane under sexual oppression. Participating in such activities in China is a very breakthrough exposure of women's sexual feelings. Because, in China's sexual life, as a wife (or lover), she is doomed to have the obligation to devote herself to the needs of her sexual partner forever, and even men are happy to see each other's unbearable or painful, so they can boast to others to prove their sexual strength and conquest; Women, on the other hand, can never express their dissatisfaction with each other, or even be ashamed to just talk to each other, because this shows the corruption of women's moral quality. In Taiwan Province Province, the western feminist trend of thought is more "surging" than the mainland. ⑥ Rape Flowers by Liao Huiying (1982) shows the helpless and sad life essence of "a good wife and a good mother"; Li Ang's "Killing a Husband" (1983) shows how women are squeezed by this and passively orient their "culture". And her own sky (1980) inherits the classic words of western feminism (such as My Room, an important document of British woman writer Virginia Woolf), which symbolizes the necessary living space for women as an independent person. This space has been neglected for a long time, including women themselves. Obviously, it is both material and spiritual. China's new female culture is developing. To sum up, in the past 100 years, western modern feminist thoughts and feminist thoughts have had two major influences on China's female culture. It happened around the beginning of this century, which made the advanced women in China liberated from the shackles of feudal paternalism with the call and help of her ally advanced men, and realized their marital autonomy, thus making it possible for them to play the role of "wife and mother" exclusive to women because of their participation in social roles; One happened in the 1970s and 1980s, which made China women wake up from it. From stagnation in the "equality" marked by "men and women are the same, speaking men's words, doing men's work and wearing men's clothes", we began to awaken gender, focus on the historical situation of their own gender, examine their cultural forms, present their gender survival status and strive for their gender interests. From the female literature articles in recent years, we find that the new generation of intellectual women not only refuse to continue the traditional female role of "wife and mother", but also question and deconstruct the definition and existence of "wife and mother". They trudged on the way to find out what a woman is. If women in China had male allies in the previous process of modernity, then this time, they had to fight alone, and they fought a "one-man war". Attending: Externally, it seems to be directly manifested as an ideological struggle between one gender and another; Internally, it is directly manifested in the ideological struggle between modern women and traditional women. However, compared with modern intellectual women in China, they are increasingly exploring gender relations and gender culture, a powerful discourse belonging to the public, society and tradition, which is actually a male view, but it shows a disapproval or even a completely opposite attitude. 1996, a TV series "Andy's parents" premiered on CCTV, emphasizes the call back of our nation's fine traditions. Lan Xin, the second daughter-in-law from the family of rural working people, was endowed with the classic quality of "a good wife and a good mother" and a gentle and kind image. In contrast, it is Rosie, the daughter-in-law of the top ten senior cadres' families of a modern urban intellectual who is quite foreign. Not only did she not want to spend money to treat her father-in-law, but she finally divorced her husband and left her children. Its selfish and mean image is disgusting. It is conceivable that behind this image formula, there is obviously a consciousness of resisting foreign countries (foreign countries or westernization) with soil (local or traditional) and urban culture with local culture (deeply influenced by western modern civilization). It is particularly noteworthy that in this carefully planned moral drama, which emphasizes propaganda, the idea that the working people are the only moral heroes is no longer simply repeated, and talents with modern knowledge and equipment are also paid special attention. However, the role of knowledgeable, modern and traditional moral heroes falls on men without exception. In the play Eggs from Mom and Dad, Qiao Jiawei is a working-class man, an intellectual and engaged in high-tech work. At the same time, he is a dutiful son, a kind husband and a responsible father. Such people represent the ideal combination of local culture and modern civilization. As for the female image, it's just divided. In the aesthetic expectation of the public, they are divided into: either rustic traditional "good women" or exotic modern "bad women". Thus, although it is impossible for women to get rid of the old cultural traditions and not accept the impact and influence of western feminism in China at present, the reform and opening up also provides such a good opportunity: social modernization cannot be stopped, nor can the modernization of women in China. The new female discourse of self-reliance, self-esteem and self-love has been repeatedly instilled in grassroots women by women's federations at all levels to replace their old cultural concepts. Women who have been baptized by modernization clearly realize that they can't return to their former "inhuman" state. However, before they have established a new cultural female model that integrates the old and the new/native and foreign/traditional and modern, there is indeed a considerable gap or even contradiction between women's own wishes and practices and the traditional public expectations that are still "nationals". So far, some experiences of China's female literature show that feminism is still in a state of "talking to itself" in China. Its value lies in providing the truth of China women's existence that many literary texts want to talk about since Lu Xun's "Regret for the Past" came into being: how they had to enter social roles in order to get rid of traditional roles and established destiny; The formation of their social roles has disrupted the original traditional order of social relations and gender relations, as well as their predicament, stagnation and even retrogression. Even with a very pessimistic narrative tone, it warns that both sexes are going through the difficult early stage of re-establishing a new gender order; The traditional relationship between men and women is facing crisis or even collapse because of the new female culture. Therefore, in order to realize the ideal infiltration of feminism in China, it may take some time to realize its implementation and localization in China; It will take some time to establish a new modern female role model in China with gender identity to replace the traditional model. Note: ① Yuan Yang, edited by Taini: Yijing, Yi Tong, Southwest Normal University Press, 1993, p. 83. (2) Ban Zhao: Women's Commandments: Inferiority First, "Biography of Women in the Later Han Dynasty 84" Zhonghua Book Company, 1965 Edition, p. 2787. (2) The History of the Ming Dynasty, Volume 189, Biography of Women, Zhonghua Book Company, 1974, p. 769 1. ④ Cai Dongfan: The Romance of Empress Dowager Cixi, Zhejiang People's Publishing House, 1980. ⑥ Ban Zhao: "Women's Commandments, Emphasis on Fifth", p. 2790. ⑧ Uncle Jin: Selected Songs of Yuan Dynasty, Zhonghua Book Company, 1958 edition. ⑦ [Qing] Li Yu's collection of short stories The Twelfth Floor and Fengxian Floor, People's Publishing House, 1986. ⑧ Li Xiaojiang et al. Editor-in-Chief: Gender and China, Life, Reading and New Knowledge Joint Publishing Company, 1994 edition, p. 168. 9 Cao Yu: Thunderstorm, Sichuan Literature and Art Publishing House, 1985. Attending Li Xiaojiang and other editors: Gender and China, which Li Xiaojiang thinks is a feature of feminism entering China. Sanlian Bookstore 1994, page 5. Attending Zheng Yunshan: Qiu Jin, The Woman Who Built the Lake, Shanghai People's Publishing House, 1984. Attending Yang Taize: Memories of menstruation, Glory of Drinking, China Social Sciences Press, 1992, p. 87? /FONT & gt； Page 1 16. Attending Zhang Xinxin: same horizon, bumper harvest, No.6, 198 1. Attending Jason: Ark, Harvest, No.2, 1982. ⑩ Fangfang: Flowing Clouds and Flowing Water, Changjiang Literature and Art Publishing House, 1992, p. 88- 150. Indications: You are a river, novelist, No.3, 199 1. Attending Elena Sisu: The Laughter of Medusa, edited by Zhang Jingyuan: Contemporary Feminist Literary Criticism, Peking University Publishing House, 1992, p. 203. Attending Lin Bai: Fatal Flying, Flower City Fertilizer, 1995,No. 1 issue. Attending here to borrow a sentence from "Feminist Criticism in the Storm" edited by Taiwan Province Province, to summarize the popular phenomenon of feminist movement and feminist thought in Taiwan Province Province. Gu Feng Publishing House 1988. Attending here to borrow the name of feminist writer Lin Bai's novel "A Man's War" to summarize the mental state of women in China in the current cultural process. For the novel, see Huacheng No.2 1994. Attending the new culture female Zijun in "Regret for the Past", ignoring the criticism of social family, bravely fighting for the freedom of marriage, and successfully living with her lover. However, Wei Sheng soon discovered that Zijun, who became his wife, was completely different from before, mediocre, timid and dependent. Under the indifference and rejection of Wei Sheng, Zijun had to return to her family and die alone.