This survey is a study about the concept of the new man and masculinities. The basic question in this study is what consequences the discussion after Metoo has had for masculinity and whether we are now facing the creation of a new masculinity. In the light of an article about the new woman written by Aleksandra Kollontaj in the early 1900s and a book by Viktoria Saxby with the title Den nya mannen (the new man), published in 2019, this comparative study examines whether there is a new man among us. The theory in this study is taking the point of departure in different definitions of masculinities, as well as Metoo and comparing the mentioned article and book above. With the use of hegemonic masculinity and gender as theory, as well as discourse analysis as method, this study will try to come up with a result whether the new man is on a rise and how this will affect gender equality. The essence of the study is that the new man exists, he is missing and he is needed. / Denna undersökning är en studie om begreppet den nye mannen och maskuliniteter. Grundfrågan i studien är vilka konsekvenser diskussionen efter Metoo har haft för maskulinitet och om vi nu står inför skapandet av en ny maskulinitet. I ljuset av en artikel om den nya kvinnan skriven av Aleksandra Kollontaj i början av 1900-talet och en bok av Viktoria Saxby med titeln Den nya mannen (den nya mannen), publicerad 2019, undersöker denna jämförande studie om det finns en ny man bland oss. Teorin i denna studie tar utgångspunkt i olika definitioner av maskuliniteter, liksom Metoo och jämför den nämnda artikeln och boken ovan. Med användning av hegemonisk maskulinitet och kön som teori, samt diskursanalys som metod, kommer denna studie att försöka komma fram till ett resultat om den nya mannen ökar och hur detta kommer att påverka jämställdhet. Kärnan i studien är att den nya människan finns, han saknas och han behövs.

<p>U na&scaron;em radu poku&scaron;aćemo da, na korpusu drama za odrasle, koje su u &scaron;tampanom obliku dostupne javnosti, izdvajanjem samo nekih interpretativnih problema, ukažemo na ono za &scaron;ta pretpostavljamo da je po-etička osnova Popovićevog rukopisa. Njihova priroda nametnula je aparaturu i strategije koje pripadaju postmodernizmu. To je stoga &scaron;to i sam pisac, verujemo, jeste postmoderni pisac.<br />Pre svega, Popovićev opus hronolo&scaron;ki posmatrano, interferira s postmodernizmom u srpskoj književnosti, pa nas zanima priroda veze ove dve pojave. Takođe, u Popovićevom delu značajno je prisutna, prvenstveno jezička, građa preuzeta iz srpskog književnog nasleđa, te tradicionalne kulture, a upravo je odnos prema tradiciji jedno od relevantnih pitanja koje postmoderna postavlja. Slično se može reći i za problem književnog redefinisanje obrazaca kulture. Doslednim preoblikovanjem farse, temeljnim postupka prema žanru kojim se A. Popović služi, on je ne samo na tragu op&scaron;tih književnih težnji dvadesetog veka, nego posebnim poetskim postupcima čini vidljivim one kulturne pojave koje su u vreme nastanka Popovićevog opusa bitno uticale na kulturnu matricu Srbije, ali i naznačile ono &scaron;to će se u kulturi (pa tako i u književnosti) tek dogoditi.<br />U hermetičnim tekstovima, dakle onima koje smo svrstali u drugu tendenciju Popovićevog opusa, predstavljanje značenja kao nepredstavljivog, realizovano je i kao igranje (jezičkih) igara, &scaron;to je drugo ime za apofatičku misao koja, verujemo, prožima Popovićevo celokupno delo. Nihilizam neće zavr&scaron;iti u samoubistvu nijednog njegovog lika (&scaron;to bi predstavljalo tragičnu preteču postdramskog teatra u verziji Sare Kejn), nego u samožrtvovanju (u drami Afera Ljiljak i njenom negativu &ndash; Ružičastoj noći), svojevrsnoj razradi Popovićeve teme potrage, koja signalizira su&scaron;tinsko nepristajanje na logos vidljive stvarnosti. On zna da je nasleđeni koncept o diskurzivnim hijerarhijama &ndash; obmana, ali nije napustio ideju potrage za aksisom.<br />Time &scaron;to problematizuje binom centar-margina, &scaron;to dekonstrui&scaron;e velike narative kulture uspostavljajući tako svojevrsni kontinuitet s nasleđem (i onim koje je ostalo skrajnuto), &scaron;to ukida hijerarhije kulturnih kodova, &scaron;to tematizacijom jezika diskutuje metafiziku prisustva i označiteljske prakse kulturnog kanona kojem pripada, Popović postavlja okvir za (re)konstrukciju poetičkih načela svog opusa. Konačno, tezom o apofatizmu, koja svoju paralelu ima u ruskom postmodernizmu, ma koliko na prvi pogled bila nespojiva s Popovićem i njegovim dramama, onakvim kako ga pamti ideolo&scaron;ki opterećeno književnoj nasleđe, verujemo da odgovaramo na pitanje za&scaron;to Popović pi&scaron;e, tada i tako.</p> / <p>In our paper-work we shall try, concerning the corpus of dramas for adults, which are in printed forms available to the public, to point to what we assume is po-etic basis of Popovic&#39;s writings, by singling out certain interpretative problems. The nature of those works imposed apparatus and strategies that belong to the postmodernism. It is because the writer himself, as we belive, is postmodern writer.<br />First of all, Popovic&#39;s oeuvre, chronologically speaking, interferes with postmodernism in Serbian literature and we are interested in the conection between these two phenomena. Also, in his literary work there is a significal presence of, primarly linguistic, material taken from Serbian literary heritage and traditional culture, and the relationship to the tradition is the one of the relevant questions that postmodernism raises. The same can be said about the problem of literary redefining cultural patterns. By consequent reshaping of farce genre аs the fundamental Popovic`s mood, he is not just on the trail of XXth century<br />literary aspiration, but through special poetic procedures he makes visible those cultural phenomena that had, at the time when Popovic`s oeuvre appeared, significant impact on cultural matrix of Serbia and indicate what in culture (incuding literature) will only happen in the future.<br />In hermetic texts, those considered as the second tendency of Popovic`s oeuvre, representing void as unimaginable, implemented as a play (language) games, is another name for the apophatism, which, we believe, permeates entire Popovic`s oeuvre. Nihilism will not end up in suicide of any of his characters (which would be a tragic forerunner of postdramatic theater in Sarah Kane`s version) but in self-sacrificing (in drama Afera Ljiljak and its opposite &ndash; Ružičasta noć), a kind of working out of Popovic`s theme &ndash; quest, which signals a fundamental refusa of visible reality. He knows that inherited concept of discursive hierarchies is deception but he did not abandon the idea of searching for Axis.<br />By problematizing binary opposition center &ndash; margine, by deconstruction of the grand narratives of culture which means establishing specific kind of continuity with legacy (even with those remained sidelined), by terminating the hierarchy of cultural codes, by discussing the metaphysics of presence and practice of signification to which he belongs (by focussing language), Popovic sets the framework for (re)construction оf poetic principles of his ouvre.<br />Finally, through the thesis on apophatism which has its parallel in Russian postmodenism, although, at first glance, that thesis is incompatible with Popovic and his dramas, as it is remembered by ideologically laden literary legacy, we believe that we have answered the question why Popovic has been writing, then and so.</p>

「革命加戀愛」小說在一九二零年代末中國的大量出現，反映了當時知識份子藉書寫對革命與性別之間的關係所展開的思考。而這些思考往往集中表現在文本中的革命女性身上。論文選擇以茅盾（1896 - 1981）及蔣光慈（1901 - 1931）這兩人創作的「革命加戀愛」小說為例，嘗試說明這些文本中的革命女性，蘊藏著一種未被充份理解的革命性。這一革命性，是以當時一套經翻譯進入中國的社會主義女性主義柯倫泰（1872 - 1952）的論述為參照而顯現出來。以此為基礎，我們重新發現通過《虹》這個文本中的革命女性，茅盾敘述了一個女性如何成為「革命的性別」的故事。而在《衝出雲圍的月亮》這本小說中，蔣光慈則在革命女性的思考、行動上，展示了革命如何可以是一場「性別的革命」。「革命的性別」及「性別的革命」說明了當時中國左翼知識份子對革命的思考及想像中，性別解放的可能的面向。 / With the mushrooming of Revolution and Love stories in China during late 1920s, intellectuals at the time have begun their reflection on the relation between “revolution and “gender through their writings, and addressed specifically on female characters that are engaged in revolutions. The following thesis sheds light on the Revolution and Love stories of Mao Dun（1896 - 1981）and Jiang Guangci（1901 - 1931）, and tries to illuminate the revolutionary spirit of those female characters. By comparing these fictions with Alexandra Kollontai（1872 - 1952）’s gender theories, my thesis aims at revealing the revolutionary traits when Kollontai’s socialist feminism theories were introduced into China through translation. From this point of departure, the underlying meaning of how Mao Dun transformed a female narrative into a “revolutionary oriented gender one would be underscored in his book Rainbow. While in another story written by Jiang, The moon that breaks free from the clouds, he demonstrated how a revolution could be perceived as a “gender oriented revolution through the reasoning and accomplishment of revolutionary females. By highlighting both the “revolutionary oriented gender and “gender oriented revolution, it allows us to rethink how leftist Chinese intellectuals at that time have comprehended the possibilities of gender emancipation through their understandings and imaginations towards revolution. / Detailed summary in vernacular field only. / 高俊傑. / "2013年2月". / "2013 nian 2 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 120-123). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Gao Junjie. / Chapter 第一章 --- 序 --- p.頁1 / Chapter 一、 --- 緒論：「革命加戀愛」小說的爭議 --- p.頁1 / Chapter 二、 --- 研究對象：茅盾的《虹》及蔣光慈的《衝出雲圍的月亮》中的革命女性 --- p.頁6 / Chapter 三、 --- 研究方法：引入柯倫泰的思想脈絡重讀《虹》及《衝出雲圍的月亮》中的革命女性 --- p.頁12 / Chapter 四、 --- 研究內容 --- p.頁19 / Chapter 第二章 --- 柯倫泰的性別論述 --- p.頁22 / Chapter 一、 --- 柯倫泰在現代中國 --- p.頁23 / Chapter 二、 --- 柯倫泰性別論述的背景 --- p.頁29 / Chapter 三、 --- 資本主義下家庭與婚姻對女性的剝削 --- p.頁31 / Chapter 四、 --- 社會主義下新型的家庭與婚姻 --- p.頁33 / Chapter 五、 --- 獨身女性 --- p.頁37 / Chapter 六、 --- 新性道德：戀愛遊戲 --- p.頁39 / Chapter 七、 --- 小結 --- p.頁44 / Chapter 第三章 --- 革命的性別--從柯倫泰到茅盾的《虹》 --- p.頁46 / Chapter 一、 --- 翻譯作為起點：柯倫泰與茅盾在女性解放議題的連結 --- p.頁49 / Chapter 二、 --- 柯倫泰進入茅盾小說創作的視野：從《蝕》到《虹》的轉變 --- p.頁52 / Chapter 三、 --- 性別意識：梅行素作為克服傳統女性特質的「新婦人」 --- p.頁59 / Chapter 四、 --- 性別身份：新女性的獨身主義 --- p.頁63 / Chapter 五、 --- 性別身體：女性與女性的戀愛遊戲 --- p.頁69 / Chapter 六、 --- 小結 --- p.頁76 / Chapter 第四章 --- 性別的革命--從柯倫泰到蔣光慈的《衝出雲圍的月亮》 --- p.頁79 / Chapter 一、 --- 茅盾與蔣光慈的可比性 --- p.頁82 / Chapter 二、 --- 為甚麼是《追求》？逆寫《追求》的意義 --- p.頁84 / Chapter 三、 --- 逆寫《追求》 --- p.頁89 / Chapter （1）. --- 女性的自我意識 --- p.頁89 / Chapter （2）. --- 女性與其他女性的關係 --- p.頁94 / Chapter 四、 --- 柯倫泰與蔣光慈 --- p.頁97 / Chapter 五、 --- 新性道德：革命女性的戰場 --- p.頁102 / Chapter 六、 --- 新家庭：新的倫理關係，與繼續革命 --- p.頁109 / Chapter 七、 --- 小結 --- p.頁114 / Chapter 第五章 --- 結語 --- p.頁116 / 參考書目 --- p.頁120