這場性別革命確如“請客吃飯”：綜觀女作家“工業”與西方學者對中國當代小說之論述

This Gender Revolution Is a Tea Party: The "Women Writers' Industry" and Western Accounts of Contemporary Chinese Fiction

露薏絲•愛德華斯(Louise Edwards)

《台灣社會研究季刊》 14期 (1993/03) Pp. 101-121

https://doi.org/10.29816/TARQSS.199303.0004

摘要

本文剖析西方中國研究界在過去十年間出現的當代“女作家”現象，並探討此現象與女性主義關於文學理論和政治行動的觀點的關係。本文認爲，西方中國研究學者之所以罕用女性主義文學批評爲基礎研究當代小說，部分原因在於中華人民共和國文化部門所設定的框架有不衰的影響力。
本文的一個主要論點是，中國的女作家部門視“婦女”爲一個生物範疇而非政治範疇，結果完全剔除了性別的政治意義。女作家於是變成了一個特定的作家團體，溫柔馴服，不論實情如何均具有特殊的“女性”意義。女作家被歸爲一類之後，她們非但無法如表面所言有利於婦女，反而使女性所能獲得的發言位置更告縮小。本文主張對文學批評的方法重新的加以檢討，俾使兩性的文學寫作中的性“無意識”成爲探討的對象。

關鍵字

女性主義文學批評 ； 中國的女作家 ； 性別之政治意義

並列摘要

This article examines the contemporary ”women writers” phenomenon as it has emerged in Sinology over the past decade and examines its relationship to feminist notions of literary theory and political action. The paper argues that the dearth of Sinological work on contemporary fiction which takes feminist literary criticism as its foundation is understandable partly in terms of the resilience of the parameters set by the culture Industry of the People's Republic of China.
One of the paper's major points is that the women writers' Industry of China has effectively depolitcised gender by ensuring that woman remains a biological and not a political category. This has produced women writers as a special group of tame ”domesticated” writers giving them special ”women's” significance whether appropriate or not. This isolation of female writers has thereby narrowed the base of speaking positions available to women rather than serving, as is obstensibly claimed, to promote women's interests. This paper calls for a reassessment of critical methods whereby writing from both sexes be examined for their sexual ”unconscious”.

並列關鍵字

feminist literary criticism ； China's women writers ； gender and politics