Citation: Yuan HAN. Feminism and Nationalism: Women and the National State in the Anti-Japanese War Red Classics Novels and Its Screen-adaptations[J]. Academic Monthly , 2019, 51(4): 139-148, 173. 与西方的女权运动不同，第三世界国家妇女解放运动是在男性领导下配合民族国家抵抗战争的，女性主义从属于民族主义。本文以新中国成立初期的一批红色经典抗战小说如《苦菜花》《平原枪声》《敌后武工队》及以之为基础改编的影视作品为研究对象，通过民族国家视野中女性的三个角色定位：作为劳动力与战斗力的女性，作为献祭子女的母亲，作为被男人窥视的压抑个体性欲的女人，来分析在这些不同时代、不同介质的作品中一以贯之的民族主义的强势地位，以及女性主义理念如何在部分作品中曲折幽微地闪烁其辞并在改编的过程中被不断改写诠释，但始终未能挣脱的从属与被支配的地位。 女性主义 /  民族主义 /  红色经典抗战小说 / Abstract: Unlike the Western feminism movement, the women’s liberation movements in the third -world countries have always been under the male leadership to cooperate with the country’s resistance to wars, subordinating to nationalism. Taking a batch of anti-Japanese war Red Classics novels such as Kucai Flower （《苦菜花》）, Gun Shots on the Plain （《平原枪声》）, and Behind Enemy Lines （《敌后武工队 》） that were published during the early days of the People’s Republic of China, and the subsequent screen-adaptations as the research objects, this article analyzes the dominant position of nationalism in different medias during different times; and how the feminism idea expresses itself with minced words in those works. Having been constantly rewrote, the ways those works interpreted the concept of feminism in the process of adaptation have never been able to break its subordinated position. This analysis goes through a national vision of the three role positions of female – as labors and battle forces, as mothers sacrificing for their children and as female who were peeped into by male but have always suppressed their individual sexual desires. Key words: feminism /  nationalism /  Anti-Japanese War /  Red Classics novels, film adaptation

Abstract: Unlike the Western feminism movement, the women’s liberation movements in the third -world countries have always been under the male leadership to cooperate with the country’s resistance to wars, subordinating to nationalism. Taking a batch of anti-Japanese war Red Classics novels such as Kucai Flower （《苦菜花》）, Gun Shots on the Plain （《平原枪声》）, and Behind Enemy Lines （《敌后武工队 》） that were published during the early days of the People’s Republic of China, and the subsequent screen-adaptations as the research objects, this article analyzes the dominant position of nationalism in different medias during different times; and how the feminism idea expresses itself with minced words in those works. Having been constantly rewrote, the ways those works interpreted the concept of feminism in the process of adaptation have never been able to break its subordinated position. This analysis goes through a national vision of the three role positions of female – as labors and battle forces, as mothers sacrificing for their children and as female who were peeped into by male but have always suppressed their individual sexual desires.

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