The development of the argumentation on the woman and the transition of its literary images in the modern Germany.

尽管人类的平等是现代欧洲思想的口号，但以男性为中心的原则作为一种压迫手段继续发挥作用，并迫使女性在社会和文化领域中忍受弱者的地位。另一方面，同样得到大多数男性支持的现代文学和艺术继续将女性描述为一种审美形象并将其理想化。如果我们只关注“女性的审美形象”，就不可能忽视这种双面矛盾。以男性为中心的原则体系所珍视的一种情欲，是承载女性审美形象的表达意识的基础，我们可以在这种欲望中看到一种乌托邦的意图或希望。但它之所以被称为乌托邦主义，只是因为以男性为中心的原则，以自我辩护和自我保存为目的，寻求的是完全的自我实现和自我救赎。女性的审美形象应该作为“接受者”被置于这种乌托邦秩序之中。现代主义的反叛不仅意味着对这种形象的破坏，而且意味着对表达媒介之美的意识的过渡。然而，即使在这个时刻，对决定美标准的男性中心主义的批评也没有开始。当前对男性中心文化的普遍反思首次使这种批评成为可能。如果我们将现代德国文学中的女性形象与女性论的关系进行解读，我们就获得了阐释社会结构和审美意识的历史转换机制的新视角。

Although the equality of the human species was the slogan of modern European ideas, the male-centric principle as a device of oppression continued to operate and it has been forcing the female sex to endure the position of the weak in social and cultural domains. On the other hand modern literature and arts, which were also supported by the majority of men, continued to describe the woman as an aesthetic image and to idealize it. If we focus on the "aesthetic image of the woman", it becomes impossible to overlook this double-sided contradiction. An erotic desire which the system of male-centric principle cherishes lies in the base of the consciousness of expression that bore aesthetic images of the woman, and we can recognize a Utopistic intention or hope in this desire. But it can be called a Utopianism, only because the male-centric principle, which aims for self-justification and self-preservation, was seeking the complete self-realization and salvation of itself. The aesthetic image of the woman should be put into this Utopistic order as the "accepter". The rebellion of modernism meant not only the destruction of this image but also the transition to the consciousness of the beauty of the expressive medium. Even at this moment, however, the criticism of the male-centric principle has not begun, which determines the criteria of beauty. The current general reconsideration of male-centric culture made this criticism possible for the first time.If we decode the images of women in modern German literature in the relationship with the argumentation on the woman, we obtain the new perspective to elucidate the mechanism of historical conversion of the social structure and that of aesthetic consciousness.