摘要
起始于20世纪90年代的英美琪客文学于新世纪发展出悍客文学分支,其书写对象也由追求婚姻的单身女性成长为婚姻内的主妇与母亲,两类文学以后女性主义为指导。本文分析金塞拉的《购物狂与宝宝》、皮尔森的《她是如何做到的》,以及菲尔丁的《B.J.:我为君狂》三部英国悍客文学代表作品,论述悍客文学中的“辣妈”女性延续了后女性主义对女性主义的接受、发展与修正,树立新一代母亲身份主体形象,拥抱消费文化,自主理性选择,积极追求幸福,在个人力所能及的范围内拥有全部--财务与消费的自由、工作与居家的权利以及母性与性感的并存。悍客文学描绘新母亲这一特定群组相对理想化的生存状态,提出解决矛盾的途径,是后女性主义试图修正女性主义与社会、经济现实中男女不同权的美好愿景,然而抵抗不平等性别现实的力度依然不够。
As a branch of chick lit,hen lit centers on wives and mothers in and out of marriage.Guided by postfeminism,the yummy mummies in Kinsella's Shopaholic and Baby,Pearson's I Don't Know How She Does It,and Fielding's Mad for the Boy have accepted,developed and revised feminism in their embrace of consumerism,opt-out choices and pursuit of happiness.They have established their new mom's identity and subjectivity in their“having it all”ideal to go after the freedom of finance and consumerism,working capacity and domesticity,maternity and sexuality.Hen lit depicts the particular group of new Mom's relatively idealistic life and work status,and it endeavors to offer solutions to the contradiction in between,depicting a picture of revision to the previous waves of feminism and gender inequality in social reality,yet it does not go far enough.
