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女性文學(xué)暢銷(xiāo)書(shū)透視(文件)

 

【正文】 言》、池莉的《所以》等都曾一度名列排行榜前幾位?!蔽覀兊呐宰骷翌嵏埠拖饽袡?quán)中心的語(yǔ)言形式,其終極目的是要建立平等和諧的兩性世界。從直率的女權(quán)主義抗?fàn)幍綄?duì)個(gè)人和社會(huì)的道德?tīng)顩r的關(guān)心,中國(guó)的女性文學(xué)作品正從各方面表達(dá)著女性的社會(huì)憂(yōu)患意識(shí)和她們獨(dú)特的關(guān)注方式。尤其是90年代身體寫(xiě)作現(xiàn)象和“80后”女性寫(xiě)作更向當(dāng)今的女性研究提出了嚴(yán)峻的挑戰(zhàn):如何擺脫“被看”命運(yùn)?如何擴(kuò)展寫(xiě)作題材范圍?女性文學(xué)圖書(shū)又如何在圖書(shū)市場(chǎng)獲取更大的占有空間?首先在內(nèi)容上,女性文學(xué)暢銷(xiāo)書(shū)已經(jīng)擁有了豐富的題材,從原來(lái)單純的反映女權(quán)主義題材,發(fā)展至今日多種內(nèi)容并行發(fā)展。與此同時(shí),在暢銷(xiāo)書(shū)的設(shè)計(jì)上,我們可以展開(kāi)豐富的想象力,用一種更具沖擊力的設(shè)計(jì)吸引讀者的注意力。中國(guó)女性在行動(dòng)。歷史不斷演變,女性這個(gè)弱勢(shì)群體也在一直尋找自己的一方天地。堅(jiān)持女性主義的寫(xiě)作立場(chǎng),從個(gè)體生命經(jīng)驗(yàn)出發(fā)探討女性的文化身份和社會(huì)處境,研究女性在人類(lèi)文化中的命運(yùn)和男女權(quán)力關(guān)系中的復(fù)雜性,顛覆男性中心歷史對(duì)婦女的遮蔽與扭曲,來(lái)建構(gòu)人類(lèi)雙性和諧文化。參考文獻(xiàn)[1] :中國(guó)文聯(lián)出版社,2004:2.[2] 溫儒敏,李憲瑜,賀桂梅,[M].北京:北京大學(xué)出 版社,2005:149167.[3] [M].北京:三聯(lián)書(shū)店,2002:222-228.[4] :北京大學(xué)出版社,.[5] 孟悅、:河南人民出版社,1989.[6] ——評(píng)《上海寶貝》.[7] :中國(guó)時(shí)代經(jīng)濟(jì)出版社,2003.[8] :中國(guó)文聯(lián)出版社,2004.[9] :中國(guó)文聯(lián)出版社,2004:2.[10] [M].北京:三聯(lián)書(shū)店,2002:202-210.[11] ://[EB/OL] Wele to Atlantic Publishing Company:June 3, 2007. 附錄:英文文章翻譯.Atlantic Publishing CompanyAtlantic Publishing Company is your 1 source for Books, Videos, Training Materials, Tools, and Software for the Foodservice, Restaurant, and Hospitality Industry Professional. 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We have dramatically expanded our new, exclusive professional book series to include the following new subject areas:This site was designed with your convenience in may navigate our extensive pages of items by using drop down menu at the top of this page, or use the links below and in the left border.在這天空下,女作家不僅繼續(xù)延續(xù)從前的女權(quán)主義文學(xué)題材,還不斷開(kāi)拓新的女性文學(xué)暢銷(xiāo)書(shū)市場(chǎng),反映女性的唯美的愛(ài)情生活,同時(shí),一批新新人類(lèi)開(kāi)始涌現(xiàn)文壇。21世紀(jì)開(kāi)放、多元的學(xué)術(shù)話(huà)語(yǔ)場(chǎng)地終于接納了“女性文學(xué)”以及與其相關(guān)的諸多概念和術(shù)語(yǔ)。在當(dāng)今中國(guó)社會(huì),女性已經(jīng)以一種強(qiáng)悍的姿態(tài)登上了歷史書(shū)寫(xiě)者的舞臺(tái),女性的聲音已經(jīng)由無(wú)聲到微弱,再到現(xiàn)在的強(qiáng)烈。結(jié) 論中國(guó)女性在追夢(mèng)。可以說(shuō),女性文學(xué)暢銷(xiāo)書(shū)在未來(lái)發(fā)展的道路上不僅應(yīng)該延續(xù)已有的優(yōu)秀題材,更應(yīng)開(kāi)辟新的道路。然而,女性問(wèn)題之所以到現(xiàn)在還是社會(huì)的焦點(diǎn)問(wèn)題,就說(shuō)明了我國(guó)女性還沒(méi)有徹底得到解放。如果不記錄現(xiàn)時(shí)女性生存狀態(tài),女性仍無(wú)法進(jìn)入歷史,仍無(wú)法讓后世的人們遙視我們的女性精神。仔細(xì)分析這些被讀者們津津樂(lè)道的女性暢銷(xiāo)書(shū),不難發(fā)現(xiàn)這些作品中的女性形象,大多是處在文化意識(shí)形態(tài)紛繁復(fù)雜的現(xiàn)今中國(guó)社會(huì),體現(xiàn)了中國(guó)當(dāng)代女性意識(shí)從蘇醒到逐步成熟的蛻變,記錄了中國(guó)當(dāng)代女性作家對(duì)自己和社會(huì)的人文關(guān)懷與對(duì)女性的精神解放的探索過(guò)程。在《誓鳥(niǎo)》兼具浪漫主義與現(xiàn)實(shí)主義的品質(zhì)中,我們可以欣喜地看到一位80后的中國(guó)女孩,如何在“全球語(yǔ)境”下寫(xiě)好“中國(guó)的故事”,如何深切地表達(dá)出她對(duì)民族對(duì)傳統(tǒng)對(duì)歷史的一份敬仰與愛(ài)意。張悅?cè)淮_實(shí)是在用心寫(xiě)作,她的文字透出了她的內(nèi)心。記憶會(huì)藏在貝殼中,于是,她瘋狂的找尋貝殼,探索過(guò)去……這部《誓鳥(niǎo)》,是張悅?cè)黄駷橹棺顬槌墒斓淖髌?,之所以這么說(shuō),是因?yàn)樗耆梢詰{借這部作品,擺脫所謂的“80后”作家群——一個(gè)華而不實(shí)的被商業(yè)包裝得過(guò)于耀眼腐化的喧嘩群落,而成為一個(gè)有著獨(dú)立審美貢獻(xiàn)的特立獨(dú)行的小說(shuō)家。我們熟知的《誓鳥(niǎo)》一度占據(jù)暢銷(xiāo)書(shū)排行榜。這部小說(shuō)的語(yǔ)言就如同她所有小說(shuō)的語(yǔ)言一樣,文筆流暢,文字空靈生動(dòng),有詩(shī)歌的意境。小說(shuō)沒(méi)有什么深刻的思考性的東西,卻能夠用唯美的筆調(diào)揭示一代人的心路歷程。她所講述的顯然不僅僅是青春放縱、反叛傳統(tǒng),而是在成長(zhǎng)的迷惘中,小心翼翼地夢(mèng)想和求證,思索和感悟。張悅?cè)皇谴猴L(fēng)文藝社最早推出的“玉女作家”。張悅?cè)唬瑥摹靶赂拍钭魑拇筚悺敝凶叱鰜?lái),被出版界圖書(shū)市場(chǎng)冠之“玉女作家”的稱(chēng)號(hào)。我喜歡讓我的讀者看懂我寫(xiě)的書(shū)。對(duì)于這種現(xiàn)象,安妮寶貝在一次記者的采訪(fǎng)中說(shuō)道,讀者會(huì)自覺(jué)滲透所喜歡的作者的氣息,從喜歡欣賞然后到模仿,也是自然的過(guò)程。我為安妮筆下的頹靡和綺麗所震動(dòng),在那里生命如同脆弱的琴弦,個(gè)人如同漂流中的落葉……安妮寶貝的作品,展現(xiàn)了一脈中國(guó)大陸版的世紀(jì)末的華麗,一份灰燼間的火光的彌留。小資情調(diào)的準(zhǔn)確把握,加上她獨(dú)特的文字功力,形成了安妮寶貝特色。《呼吸》里有句話(huà)十分經(jīng)典:只有兩件事情能夠讓我憂(yōu)郁。她的作品里的語(yǔ)言風(fēng)格幾乎在暗示這種小資心態(tài),從而給受眾帶來(lái)了自我陶醉的品牌附加值。20世紀(jì)初期,從女中學(xué)生到女大學(xué)生,到社會(huì)女青年,甚至還有各個(gè)年齡階段的男少年、男青年們,都捧著安妮寶貝的書(shū),面色憂(yōu)傷地閱讀。僅僅七八年的時(shí)間,安妮寶貝把自己打造成了一個(gè)品牌。另一方面,網(wǎng)絡(luò)文學(xué)的傳播速度遠(yuǎn)快于傳統(tǒng)文學(xué)。有評(píng)論形容圖書(shū)市場(chǎng)將由“讀圖時(shí)代”進(jìn)入“讀網(wǎng)時(shí)代”。越來(lái)越多的網(wǎng)民參與了網(wǎng)絡(luò)寫(xiě)作,數(shù)量激增,但質(zhì)量卻呈現(xiàn)下降趨勢(shì)。安妮寶貝的走紅,是網(wǎng)絡(luò)時(shí)代女性文學(xué)發(fā)展的一個(gè)高峰。人氣最高的莫過(guò)于安妮寶貝和所謂的“網(wǎng)絡(luò)三駕馬車(chē)”——李尋歡、寧財(cái)神和刑育森。而《第一次親密接觸》也理所當(dāng)然的成為第一部網(wǎng)絡(luò)文學(xué)暢銷(xiāo)書(shū)。我們關(guān)注的主要是第二類(lèi),就是在各類(lèi)文學(xué)網(wǎng)站上登載的文學(xué)作品,又稱(chēng)網(wǎng)絡(luò)原創(chuàng)文學(xué)。(剛好符合男性的傳統(tǒng)審美想像)文本中的寶貝則放縱大膽、醉生夢(mèng)死,這就構(gòu)成作品無(wú)論內(nèi)容還是外表,無(wú)論是華麗的語(yǔ)言還是精美的裝幀皆是無(wú)懈可擊的營(yíng)銷(xiāo)硬件,滿(mǎn)足了人們的
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