construction of a ‘real self’ for a large audience. Thus, far from just feeding a patriarchal economy of desire by legitimating their position as passive objects of consumption, celebrity status enables a process of transcendence beyond the stage through which actresses emerge as individuals able to manage their careers, to achieve financial autonomy, and to intercede in the production of gender roles and norms. The way these women constructed their public – and fictional – identities leads to an analysis about the origins of celebrity as a mass culture phenomenon. In the late 19th century, features such as eccentricity and exoticism were fundamental cores of fame. Clúa shows that an eccentric personality could be a strategy allowing women to negotiate their public presence. Indeed, according to the codes of domesticity a ‘proper’ woman couldn’t be publicly exposed. Having a public image is itself part of an eccentric lifestyle. As boisterous conducts set out the capacity of a diva to influence public opinion, Clúa points out that (public) scandal was the main motor of celebrity. Also resorting to interviews and personal memories, Cuerpos de escándalo shows how performers like Carolina Otero and Tórtola Valencia consciously promoted sexual attitudes and relationships opposite to traditional femininity. In such a way, while arousing the interest of the audience for their careers, these performers were also opening the cultural imaginary to new ways of being a woman. The last part of the book focuses on the political significance of eroticism and frivolity in female performance. This aspect is addressed by considering how performers negotiated their public persona with the image of the femme fatale: celebrities often played a conscious game imbued with irony, parody or metafictional allusion. Playing with the image of the femme fatale was often a mark of authorship. These dynamics persisted in film stardom, and continue to nourish today’s celebrity culture. To conclude, Cuerpos de escándalo makes us aware how notions of gender have played a key role in the construction of female stardom since its origins. Women artists have shaped their status as celebrities by challenging gender rules and conventions. Cuerpos de escándalo not only demonstrates how celebrity can reshuffle the idea of female agency in visual and performing arts, but also confirms Isabel Clúa’s key role in Spanish cultural and gender studies. Her work on female performers in fin-de-siècle Spain forces us to consider the role of women in popular culture and finally makes us aware that the dynamics of modern cultural production can be understood only if we take gender seriously.

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书评：有什么用？关于使用用途

为广大观众构建“真实的自我”。因此，名人身份不仅仅是通过使她们作为被动消费对象的地位合法化来满足父权制的欲望经济，还使超越阶段的过程超越了女演员成为能够管理自己的职业、实现财务自主和介入性别角色和规范的产生。这些女性构建公共和虚构身份的方式引发了对名人作为大众文化现象起源的分析。在 19 世纪后期，古怪和异国情调等特征是成名的基本核心。Clúa 表明，古怪的性格可能是一种策略，允许女性协商自己的公众形象。确实，根据家庭守则，“合适的”女人不能被公开曝光。拥有公众形象本身就是一种古怪生活方式的一部分。由于喧闹的行为表明了女主角影响公众舆论的能力，Clúa 指出（公众）丑闻是名人的主要动力。Cuerpos de escándalo 还诉诸采访和个人回忆，展示了像卡罗琳娜·奥特罗和托尔托拉·瓦伦西亚这样的表演者如何有意识地促进与传统女性气质相反的性态度和关系。如此一来，这些表演者在激发观众对自己事业的兴趣的同时，也开启了文化想象，开启了全新的女性形象。本书的最后一部分侧重于女性表演中色情和轻浮的政治意义。这方面是通过考虑表演者如何与蛇蝎美人的形象协商他们的公众形象来解决的：名人经常玩一种充满讽刺、模仿或元小说典故的有意识的游戏。玩弄蛇蝎美人的形象通常是作者身份的标志。这些动力在电影明星中持续存在，并继续滋养着今天的名人文化。总而言之，Cuerpos de escándalo 让我们意识到自其起源以来，性别观念如何在女性明星的建设中发挥了关键作用。女性艺术家通过挑战性别规则和习俗来塑造自己的名人地位。Cuerpos de escándalo 不仅展示了名人如何在视觉和表演艺术中重新洗牌女性能动性的概念，而且还证实了伊莎贝尔·克鲁亚在西班牙文化和性别研究中的关键作用。