本文探討大陸1980-1990年代的「瓊瑤現象」和「席慕蓉現象」。兩位作家先後在臺灣和大陸造成轟動，但是其意義卻因不同的歷史語境而有重要的差異。本文首先簡述了「新時期」大陸在改革開放政策下所帶來的「解凍」，「文藝復興」，和「啟蒙時代」；它們具體表現在三股思潮上：第一、對現代化和西方知識的追求；第二、回歸中國文化傳統，重寫文學史；第三、個性和自我的復甦，愛情新論述的崛起。作為同文同種的「她者」，臺灣是新時期大陸的最佳「譯者」；透過其中介，以西方為代表的現代性顯得更親切，更容易「消化」。本文認為，瓊瑤小說和席慕蓉早期詩的歷史意義在於，它們深層呼應了大陸正在轉變中的集體潛意識，既契合又強化了當時的文化思想潮流，滿足了人民的某些心理和感情需求。

The paper focuses on the phenomena of Qiong Yao and Xi Murong in mainland China in the 1980s-1990s. While they found success in both Taiwan and China, there were significant differences in historical context and import. The paper begins with a summary of how the “reform and open” policy brought about the “thaw”, a renaissance in literature and art, and a new Age of Enlightenment in post-Mao China, as manifest in three major trends: 1. the pursuit of modernization and Western knowledge, 2. the return to the Chinese tradition and the rewriting of literary history, and 3. the rebirth of the individual and the emergence of a new discourse on love. As an “other” with the same language and of the same ethnicity, Taiwan served as the most effective “translator” of Western modernity, which came across as more accessible and easier to “digest.” The paper argues that the love stories of Qiong Yao and the early poetry of Xi Murong echoed the collective unconscious of post-Mao China; not only were they consistent with but they also contributed to the emerging cultural trends; and they met some of the psychological and emotional needs of the people.