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想起当代女性写作,我时常会产生恍惚之感:在世纪之交,它曾经引爆了持续的话语狂欢,但此后却如过山车般迅速下滑;如今,其声势和形貌都不再醒目。是什么阻碍了女性写作的持续攀升?是写作的内部逻辑使然,还是遇到了外在的困境?t思考这些问题时,小说《到歇马河那边去》中的一句话击中了我:“她太冷了,她想跑,却不知道该对着哪个方向。”~①毫无疑问,“她”是迷惘的符号,周身洋溢着青春的冲动,但却不知
I often feel a trance in my memory of contemporary women’s writing: at the turn of the century it detonated a constant discourse of revelry, but then fell rapidly like a roller coaster; now, its momentum and appearance are no longer striking. What hinder the continuous rise of female writing? Is the internal logic of writing envious or extrinsic predicament? When thinking about these issues, a sentence in the novel “Go to the Sangha River” struck me She was too cold, she wanted to run, but did not know which direction to face. “” There is no doubt that “She ” is a confused symbol of the whole body filled with the impulse of youth, but I do not know