Abstract: In the late Qing period, the image of Sophia, a Russian Nihilist heroine introduced to China via Japan, profoundly influenced Chinese revolutionary women such as Qiu Jin and Ding Ling. The “cross-dressing” practices of these three women and their intertextual relationships reflect the multifaceted gender politics within 20th-century Chinese revolutionary discourse. The novel Heroines of Eastern Europe re-gendered Sophia’s image through “cross-dressing,” rendering her an object of male gaze and desire both within and beyond the text, thereby constructing a symbol that united the revolutionary male community. Qiu Jin, conversely, employed “cross-dressing” as a de-gendering strategy to transcend the limitations of female identity, seeking to establish her position within the male-dominated revolutionary discourse. However, this approach inadvertently internalized the patriarchal ideology of the revolution, implicitly reinforcing its masculine characteristics. In Ding Ling’s life experiences and literary works, “cross-dressing” further exemplified the complexities of the de-gendering approach, revealing the processes of appropriation, integration, and co-optation of women by the revolution.

Key words: revolution, gender politics, Sophia Perovskaya, Qiu Jin, Ding Ling

摘要： 晚清经由日本传入的俄国虚无党女杰苏菲亚形象,对本土革命女性秋瑾、丁玲产生了深远影响。三位女性的“易装”所构成的互文网络,折射出20世纪中国革命话语中性别政治的多重面相：《东欧女豪杰》中的苏菲亚通过“易装”被“再性别化”,成为文本内外男性凝视与欲望投射的对象,最终沦为一个联结男性革命共同体的象征符号;秋瑾主动以“易装”作为“去性别化”的策略,借此突破女性身份限制,在男性主导的革命场域中争得立足之地,但其实践亦在客观上内化了革命的父权意识形态,巩固了革命的男性特质;贯穿丁玲生涯与写作的“易装”,则更深刻地揭示了“去性别化”路径的内在矛盾,暴露了革命对女性主体性的征用、整合乃至收编的机制。

关键词: 革命, 性别政治, 苏菲亚, 秋瑾, 丁玲