I Said, Therefore I Am - Chinese Female Literature Narrative Voice Studies Since 1990

The narrative voice of female narrative literature in China since the1990s is clearly meaningful in the context of the overall social and cultural transformation, and the influx of Western literary theory and the established traditions of Chinese female literature."Voice" in narratology refers to a specific behavior of a story.It is through this "sound" that the story is able to render. without it, there would be no story. Well, what to speak and how to speak is closely related to the narrative voice. The narrative voice is given by the narrator, which determines the narrative voice is bound to be factors in the various features of the narrator, such as personality traits, gender factors, social environment;Narrative voice and the implied author,which are Consistent or separated, have an important impact on the Authority of Narrative Discourse;The implied reader restrict the narrative voice, and to a great extent determines the accepted sense; narrative and voice and text narrative style and ideology are closely linked.In this sense, the narrative voice is not only the problem of narrative strategies (or narrative skills), but also go beyond a purely formal level associated with a lot of contexts, which takes more Cultural meaning than the narrative strategy. Female writers frome the1990s to now express the attitude of self-rebuilding by "female" writing. To them, the "voices" have a more important meaning beyond the narrative text. they are different from the pre-or predecessors writer narrative form, narrative discourse, the words talking about the unique feeling belonging to women and Cognitive. To them, women are uppercase woman";"I,"not only to survive,"there must be "a house for themselves.It is not only to pick up a female voice which was once lost in the politics, history and culture of patriarchal, more to re-highlight the self by the "voice". Strategy from the narrative point of view, these women writers select texts with a female tendency narrative voice to tell a story about women (including experience, perception, consciousness, thinking) and by the change of perspective and focus, through polyphonic narrative, the choice of the specific object of the narrative, they express the desire of female for self-renewal and try. Thus, this narrative voice for the female or female writers, is not only just a text narrative strategy, but a conclusive evidence of a female self-describe. Narratives of Chinese women in the1990s in the narrative voice can be listed into the following four categories.The First,"Authority I ", that is" narrator "greater than" character", the narrator of the story knows more things than any characters, who is God-like omniscience, firmly in control of the storytelling process, and consistent with the ideological beliefs of the implied author, so that the reader will be starting from the narrator’s point of view, inclined to accept his ideological norms, resulting resonance, and then get the authority of the narrative. Moreover, it can be through discussions, intervention narrative to highlight its narrative authority. And "I" is not present, no sex, to facilitate female writers to make resonate with readers to build their own discourse authority. Therefore, in the literary works of women since the1990s, this narrative voice was widespread. in terms of the readers, they are more credible narrative voice, more receptive stories; In terms of female narratological perspective, it makes women writers authoritative as men writers and get the right to speak as men.In the Second," Self-speaking ", the narrator is a character in the story-" I ", starting from the" I "perspective to tell a story. Although it does not seem like a "authority" who is omniscient, but the "I" in the story, two identities, or about personal experiences or transferred experiences, with which the credibility of its discourse, friendly nature is more than the omniscient point of view."I" in this "authenticity" to build their own narrative authority. Of course, because of the "I" is the characters in the story, can not take no gender neutral disguise means, in which"I" of gender must be determined. This not only to establish the right to speak, but also declares the gender narrative voice and strives to build a discourse authoritative Chinese women since the1990s writers who meet by chance. From the narrative strategy point, this Self-speaking " means the way of women to reject the male gaze, and rewrites the real-life experience of herself, and the characterization of women competes for the right to speak. In the encirclement of the patriarchal and male culture, women model on its own, to describe self-upbringing by women themselves, by gender disadvantage into gender advantage, which is taken as a prop break trying to achieve a breakthrough.In the third,"My Symphony"-Mixing Renderer narrative voice. The narrative voice is mainly characterized by three forms of the narrative texts of the women writers since the1990s. One is the "I" and "her" harmony, which is a cross-cutting of a narrative voice of "authority" and "self-speaking", both not only reflect the characteristics of the first-person narrative voice, but also the advantages of the third-person narration voice. With the conversion of the narrative voices, narrative contents flexibly transformed, combined with each other,"I" and "her" solidarity, from the inside, from the outside, both looking down and face up. Another is "self-experience" and "narrative self" intertwined. In the texts of women writers of this period, recall is a gesture and a narrative strategy. In the memories,"I" narrates himself, the "I" in the presentation the experienced self. the two different selves show two different narrative voices due to different ages, experiences, mental, The final one is "polyphonic" of "I" contrast to what Susan·S. Lanser said," the collective type narrative voice." This narrative voice can not only be shown as the talk between "I" and different "hers", showed polyphonic narrative; but also the embodiment of the" I "forms the plural-" we ". This kind of hybrid narrative voice can be the self-examine, review, analysis of women, and performance of the female group consciousness.In the fourth,"Aphasia me" refers to a female narrator "I" who feels distressed in a narrative text who attempts to issue their own voice but has no words to say. This aphasia performance on the narrative plot appears either silent or repeating-the use of masculine language. In order to combat this aphasia,"flying" and "body" becomes the way of "I" to speak.. But it is undeniable that when women themselves realized aphasia, unspeakable, the body language is the only way to make their voices heard, so the sound itself is undoubtedly weak, powerless, because accidentally, women, and her body has been reduced to be peeped where a female voice is completely cleared up.While to build their own authority, to speak themselves, the narrative voice in the narrative text of the Chinese women since the1990s, there are also some shortcomings.A eccentric narrative voice. One-sided understanding of feminism and female literature and misreading make their work filled with anger, resentment and exclusion of male. Before they have have a deep thought about the distance between "body" and the inherent construction, women’s "body" has become a profit-making tool in commercial operation. The lack of narrative techniques and experimentations is a great shortcoming of the narrative texts. First of all, with the narrative techniques of combination of the first-person narrative voice and "Meta-narrative", the narrative becomes the writer’s self-fictional. Secondly, focus on the growth of women leads to the convergence of narrative form. This convergence in terms of monomer writer is mainly shown in the dedication of a image or preference to a narrative character To the groups of writers, women writers are showing preference for a symbolic or metaphorical images, such as "door","room","water","flower","mirror","body", which makes the the convergence of narrative forms of women writers. Once again, few changes of voice. Women writers since the1990s to take the form of quasi-autobiographical to talk about personal experiences with the view of first-person. first-person narrative voice,in nineties, generally became an enthusiastic choice. While first-person narrative voice became a dominated choice, the third-person narrative voice took a back seat and the second-person narrative voice was rare.The works of Chinese women writers since the1990s take gender awakening as their supporting points to break the historical reality that the main narrative voice is dominated by male discourse to highlights the existing of female voice.However, the continued development of female literature must step across the narrow gender barriers and hear the voices of others outside of theirs...