摘要
２０世纪９０年代中，由《私人生活》引出的关于女性与私人化的所谓文学热点，实际上是商家与传媒合谋，制造出来的挑动消费者窥私欲望的卖点。目的在于按照男性的趣味，将大众的视线引入私人空间，个人隐私再放大为公共话题，通过把女性沦为多功能的玩偶和欲望符码，建立起满足和挑动消费者窥私欲望的广告形象。此后，“隐私”作品的超常出版热，以及本世纪初对“美女作家”的热炒，也都是以性别及“隐私”诱惑来制造的商品图书市场的卖点。面对商品图书市场的种种诱惑与陷阱，无论是女性作者还是女性文本，所建立起来的“反女性”形象的事实，向女性文学提出思想、经历和艺术净炼的问题。
The literary hotspot about the female sex and privatization aroused by Private Life in the 1990s is, as a matter of fact, something concocted jointly by the commercial and media circles in order to arouse in consumers the desire to nose into other people's privacies. They do so for the purpose of suiting to the male sex's palate and directing people's attention to one's personal space, thereby extending privacies to become the public topic of conversation and, through relegating the female sex to a multipurpose doll or a symbol of desire, building up an ad image intended to provoke or meet consumers' desire to spy on personal secrets. The hypernormal publication craze for 'privacy' literature and the publicity given to 'beauty writers' at the dawn of this century are also something created for the commercial book market with sex and 'privacy' as a bait. With so many temptations and traps presented by the commercial book market and the 'anti-female' image built up by female writers themselves of their works, women's literature cannot help but face up to the challenge for purification of ideology, experience and the arts.
出处
《妇女研究论丛》
CSSCI
北大核心
2001年第2期58-62,共5页
Journal of Chinese Women＇s Studies
