A Study of Images in Eileen Chang''s Fiction

• Main Authors: Shu-Ling Wu, 吳淑鈴
• Other Authors: Shiu-Yun Yu
• Format: Others
• Language: zh-TW
• Published: 2005
• Online Access: http://ndltd.ncl.edu.tw/handle/26fyrm

碩士 === 銘傳大學 === 應用中國文學系碩士在職專班 === 93 === A Study of Images in Eileen Chang''s Fiction The richness of images in Eileen Chang''s fiction has attracted much critical attention, but no academic thesis has ever dedicated itself to the study of her use of images. That is why I am interested in such a study. This thesis explores Eileen Chang''s depiction of sentient beings, human emotions, and life patterns in her four novels and twenty five novellas. In Chapter Two, I divide “Sentient Beings” into the following four categories: "The Image of Plants”, “The Image of Animals”、” The Image of Things”、and “The Image of Ghosts”. In the plant category, followers are often used to describe the beauty of women, fallen leaves, giddy men or the emptiness of mind. Whereas married women are associated with dead wood, the kernel or fruit is often linked to fertile women or feminine men. In the animal imagery, people often behave like a baby. The mind of people is like that of snakes and scorpions, or like birds in cage, which gives an impression of fear or sadness. In the thing category, people are like the pictures and words on a screen, ignored by others; or they may be like clothes in display for other''s gaze. Women are for trade like commodity. In the category of ghosts, ghastly and frightening ghosts, timid ghosts, or ghosts who are dependent and lack self awareness, stand for selfishness, indifference, and pettiness of human beings. In Chapter Three, the image of emotions falls into four categories: "The Image of Sun and Moon", "The Image of Water and Fire”, “The Image of Action” and “The Image of Mirror” and “Other Images”. The change of sun and moon is a reflection either of human’s illusory pursuit of love, the struggle and entanglement of desire and love, or the short-lived warmth of love. In the category of water and fire, rain stands for the blockage of love, fire, for the flame of desire. Ripples and candle light represent sweet emotion. In the action images, love is like a battle field, marriage is just like a trade, and weddings are the same as funerals, all of which are used to describe the meaninglessness and falseness of love. In the category of mirror or other images, mirror images strongly suggest human emotions; sometimes the mirror image stands for fragile love. Whereas clothes can be used to express desire, walls, distance; the ringing of phone represents anxiety. Chapter Four divides “Life Patterns” into “ The Image of Drama”, “The Image of Ghosts”, “The Image of Dream”, and ” The Image of Color”. In the drama images, life is but a tragedy in which bemoaning actress, sorrowful music, flowery background are all playing the vanity of life. In the ghostly images, shadowy ghosts are seen drifting without aim in the family, marriage, or society, which gives an impression of desolation, loss, and pain of life. In “The Image of Dream,” people have no control over life; life is devoid of meaning and power. In “The Image of Color,” red stands for disfigured life, white, empty life, blue, bleak life, and gray, trivial and worthless life. Even in a riot of color, life is still full of desolation. In sum, Eileen Chang is a master of images in which she accurately and vividly portrays different faces of characters, human emotions, and life itself. Her command of vivid images inspires the reader. She will hold a lasting influence both in the romantic garden of literature and in the scholarly academia.