Abstract
Reviewing the history of patriarchy, "female desire" has often been seen as an undisclosed, promiscuous symbol. Since the 20th century, "erotic writing" has been molded into something evil and dangerous. With the passage of time, film and television culture began to affirm the multifaceted nature of the "evil woman." She is no longer described as a singular, flat representation of sin but as a new-age woman with self-awareness and bodily autonomy. As contemporary culture gradually recognizes the autonomy of the "evil woman," the public's interpretation and definition of the "evil woman" become increasingly complex and multidimensional. The interplay between "evil" and "female" subverts its original definition. They are no longer seen as purely evil but are trying to find self-identity and bodily narratives, seeking order in promiscuity and repose in indulgence. People begin to understand the various possibilities that "evil woman" refers to, and the boundaries between "evil" and "good" gradually blur. The existence of "evil" is to deconstruct/liberate the "evil" in all women, transcending the definition of good/bad women and pointing to the possibilities of multiple gender futures. In the writing of Taiwanese female novels in the new century, there is no longer the strong critical consciousness of the past "erotic writing." Instead, it uses a soft yet strong force to interpret body consciousness, feminine space, eroticism, love, desire, and the language of "sex." This paper focuses on the works of Zhang Yixuan, Hu Shuwen, and Cheng Yingshu, using their works "The Elegance of Childhood" (2006), "Not Long After Love" (2010), "History of Sexual Awareness" (2019), and "Be More Promiscuous" (2020) as examples. It attempts to sort out the writing and reflection on female bodies, desires, sexuality, and autonomy in contemporary Taiwanese literature, positioning the specificity and importance of "evil woman" writing in the history of Taiwanese literature.