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不无吊诡的是,这与他当初批判的周瘦鹃他们走到了同一条道上,面对相似的读者市场五、《创造》:女体消费与乌托邦空间1920年代末,周瘦鹃的小说创作处于停滞状态,而茅盾在《小说月报》上发表了三部曲《蚀》,以“恋爱加革命”小说类型开始其颇具浪漫革命的文学旅程。他一向关注女性话题,在1920年代初为《妇女杂志》频频供稿,与周瘦鹃在前十年为《妇女时报》撰稿的情况相似。①茅盾的小说甚至被认为有某种女性倾向。②他曾使用对一个五四作家来说颇
Not without paradox is that this week with his critique of Zhou Shoujuan they come to the same track in the face of a similar reader market five, “creation”: female consumer and utopian space in the late 1920s, Zhou Choujuan’s novel creation at a standstill, and Mao Dun published the trilogy “Eclipse” in the “Monthly of Fiction” and started his literary journey with romantic revolution in the style of “Love plus Revolution”. He has always focused on women’s topics and frequently feeds “Women’s Magazines” in the early 1920s, similar to what Ms. Zhou was writing for the “Women’s Times” in the previous decade. ① Mao Dun’s novel is even thought of as having some kind of female tendencies. ② He used to quite a writer for the May Fourth