在20世纪80年代至90年代的中国文学“镜像”里,除了先锋派、寻根派、反思派、改革派等文学流派之外,“女性主义”写作一时成为大众关注的一个焦点。特别是陈染、林白、卫慧、绵绵的横空出现,更是把“女性写作”的主体从幽暗狭小甚至边缘化的境地推向了新的高潮。她们以反叛、戏谑甚至自言自语的方式充分展现女性自身对男性欲望(话语世界)的追求和鄙视。她们以“自我”为中心,随心所欲地安排男性在自己生活中的位置,她们依据自己的需要选择丈夫和情人;在生活理念上完全秉承以自我为中心 In the Chinese literature “Mirror ” of the 1980s and 1990s, apart from literary genres such as avant-garde, root-seeking school, reflective school and reformist school, the writing of “Feminism” became a focus of public attention . In particular, Chen Ran, Lin Bai, Wei Hui, and the vast expanse of sky and sky turned out to have pushed the main body of “female writing” from a dark, narrow and even marginalized position to a new upsurge. In a rebellious, jesting or even self-talk style, they fully demonstrate the women’s pursuit and despise of male desires (the world of discourse). They are “self” as the center, free to arrange the position of men in their own lives, they choose according to their own needs husband and lover; in the philosophy of life fully adhering to self-centered