「摩登女郎」的展演空間：談《海燕集》（1953）中女作家現身與新女性塑造

“Modern Women” and Their Space ofPerformance:A Focus on Women Writers’ Strategies of Self-Presentation and PopularRomance in Petrel Collection

張漱菡主編女作家小說選集《海燕集》，是由其所設立的海洋出版社印行，這部小說選集提供我們另一個觀照五○年代複雜文化空間的角度。首先，我們可以看到張漱菡極富商業考量的女作家現身策略，在每篇作品前附上女作家的肖像，這種美麗現代的「女作家」形象，摩登時髦，能滿足社會和讀者對女作家的窺視與想像，慾望與投射。這涉及了幾個重要的議題：包括「女作家」是如何被塑造的？以及如何運用這些女作家肖像作為作品促銷之策略？而這一群女作家與讀者大眾進行一場有關於「現代」女作家在公共場域的「文化表演」（cultural performance）的同時，《海燕集》中幾部具代表性的作品，也在文本中印證、闡釋並且定義新女性，特別是有關於「摩登女郎」此一面向。本文將從女性主義視覺文化、商品與消費等研究出發，企圖找回歷史流變中五○年代女作家的現身策略與文化意涵。

Published by Ocean Publishing Company, Zhang Shuhan’s Petrel Collection hasbeen regarded as the first collection of short stories by women writers after World WarII. Although these stories belong to the genre of popular romance, the collection as awhole provides a fresh perspective for exploring the complexities of cultural space in the1950s. For Zhang’s commercial taste, the collection is installed with beautiful picturesof these writers before their individual pieces, pictures that fulfill the voyeuristic desireof the readers and reflect the needs of the society. How are these pictures constructedand how do Zhang’s commercial tactics work to promote the book? Not only do thesepictures explain and define the feminine ideal of a new, modern woman for the readers;they also intertwine with the narratives of gender and nation. In constructing theimage of a “modern woman,” this paper argues that it is necessary to understand herrole as a new woman and the dialectical relationship that involves the position of thesewriters in the field of cultural production, the construction of female subjectivity, andthe dominant culture and marketing logic in the 1950s. This paper then attempts todiscuss these women writers’ intentions and strategies of self-presentation in terms ofcommodity, consumption, literary space, and feminist visual culture.