20世纪二三十年代,巴黎左岸出现了一批现代主义艺术家的沙龙文化圈,为圈子文学和影射小说提供了生产资料。巴恩斯的《女士年鉴》和斯泰因的《艾丽丝自传》以两个不同的沙龙圈子为影射对象,分别采用了编码术和腹语术式的文本生产方式。前者以性政治观的表现为出发点,后者侧重于艺术观的表达、个人形象的营造以及对自我文学价值的宣传。不同的创作目的和文本生产方式也导致了文本营销策略上的差异。 In the 1920s and 1930s, a group of salon culture circles of modernist artists appeared on the left bank of Paris, which provided materials for the production of circle literature and novels. Barnes’s “Lady Yearbook” and Stein’s “Alice in Autobiography” focus on two different salon circles, using coding and belly-based textual production methods respectively. The former takes the performance of sexual politics as the starting point, while the latter focuses on the expression of artistic concept, the creation of personal image and the promotion of self-literary value. Different creative purposes and text production also led to differences in text marketing strategy.