论中法两国对卫慧与棉棉的接受差异

Analysis of the Different Acceptances of Weihui and Mian Mian in China and France

卫慧和棉棉两位女性作家在中法两国都引发过轩然大波,但两国的接受却存在明显差异。法国批评界更关注中国城市地下文化与后现代、全球化与时尚风潮,以及女性作家与性书写等当时中国社会新出现的文化现象,而中国批评界主要是围绕“性别、种族与阶级”问题展开激烈争论。造成这种接受差异的主要根源是卫慧和棉棉创作中表述的文化现象在中法两国的历史错位、两国不同的民族心理与文化传统、后现代消费文化在两国的不同发展阶段、两国批评模式的差异,以及两国在当时分别所处的“边缘”与“中心”位置。由此给中国现阶段文学创作与海外传播带来的启示是保持民族性、普世性和时代性三重文化自觉。

Two female writers,Weihui and Mian Mian,have caused a great uproar in both China and France,but the acceptance in the two countries is significantly different.In general,the French critics pay more attention to emerging cultural phenomena in Chinese society such as the underground culture and postmodernity,globalization and fashion trends,as well as the female writers and sex writing.The Chinese critics mainly focused on“sex,race and class”,all of which has been heatedly debated.The main sources of these different acceptancesare the historical dislocation of the new cultural phenomenon in the creation of Weihui and Mian Mian,the different national characters and cultural traditions,the different degrees of the development of post-modern consumer culture,the different critical models of the two countries,and their different positions in the international power structures at the time.The enlightenment of the Chinese literary production and overseas communication in the current stage is to maintain the triple cultural features:national,universal and epochal.