| The persuit of female poetry has transformed from "humanity and female" to "individual", and thisindicates the gradual deepening of the female subject consciousness. This dissertation aims to explore thefeminine poetry in1990s on the basis of female consciousness. Basically speaking, the prosperity offeminine poetry demonstrates the enhancement of female consciousness. At the turning from1970s to1980s, Shu Ting’s poems began to focus on the "human" consciousness, to explore the "human" values,opened the women’s self-discovery.In the mid-and late-1980s, The gender consciousness inr ZhaiYongming’s poetry is distinct and strong. The purpose of this female poet is to subvert the male-centereddiscourse and establish the pattern of female discourse. The consciousness of “darkness” put forward byZhai Yongming has a significant influence on many female poets, for instance, Yi Lei, Tang Yaping, LuYimin and so on. As a result, feminine poetry reaches its first peak in modern society. However, thefeminine poetry in1990s has broken the unicity and developed into a diversified style, feminine poetryrealizes the new pattern in feminine depiction from three levels, that is, intellectuality, emotion and body.The dissertation will be divided into seven chapters. The first chapter summarizes the development offeminine poetry in1990s. This chapter analyzes this theme from the four following aspects: the impact ofmass culture on feminine poetry, its developmental trend, its characteristics and development of women’ssubject consciousness.The second, third and forth chapters interpret the characteristics of Wang Xiaoni, Du Ya and Lan Lanrespectively. Their interpretations of feminine poetry belong to intellectual interpretation. Intellectuality canalso be called rationality. Female poets have shaken off the body discourse, confessional emotion andirrational restrains in mental, which are caused by “feminism”. On the contrary, they begin to use apeaceful and confident attitude, a rational means to write poems. Their materials include daily life, society,morality, time, memory, etc. Compared with body and emotion, those materials are not the particularsubjects about females. Through exquisite pattern of perception, wise but prudent thoughts, female poetsreveal the specific style of intellectuality. After experiencing all adversities in her life, Wang Xiaonicultivates her special intellectuality. Her intellectuality reflects in her sensitivity and acuity. Her expressionson daily life, living situations and momentary feelings make her remarkable. The intellectuality of Du Ya centers on the philosophy. Past-time and memory are the permanent theme of Du Ya’s poems. She writesher poems with her heart and in a modest way. Though many years have passed, the voice of her heart hasno change and becomes a distinctive voice in feminine poetry in1990s. In her early poems, Lan Lan is usedto express her feelings in a grateful and laudatory way. However, her style has changed since1993and herpoems are close to daily life. She inspects daily life with rationality, so her poems combine criticism withlaud. The artistic quality, infectivity, great values and significance in her poems have a powerful influenceon feminine poetry in modern China.Taking the works of Lin Xue and Na Ye as examples, the fifth chapter demonstrates emotionalinterpretation. In1990s, there is full of tenderness, happiness, separation, pity all feelings and emotions arewritten in love poetry and show some new traits in this era. Some female poets like Lin Xue, Na Ye, FuSang and Lu Ye, demonstrate us the diversity of love. Lin Xue treats love as her life. Love is her belief andpursuit. In her poems, she pours out her fervidity, sincerity and persistence to love. In her eyes, everyemotion in daily life is relevant to love. In fact, her poems are obscure for a period because of the failure inlove. But After the accumulation of emotion, her love poems become indifferent. Na Ye is a predominantfeminine poet who persists in writing love poetry. Her poetry is endowed with generosity, sincerity andwisdom. She is good at depicting the living circumstances and psychological changes. In her poetry, loveand marriage are sincere but artistic, natural but philosophical.The sixth and seven chapters discuss the exploration, dissociation and reinterpretation of bodyinterpretation. The theory of “body writing” was put forward by French feminist Hélène Cixous in1970s.Her purpose is to react against the powerful, male-dominated culture. Zhai Yongming is the representativeof body writing in1980s. Her poetry always centers on feminine body discourse, and she realizes herfeminine discourse by establishing a vivid gender consciousness. All her poetry illustrates this pursuit, suchas On Women, Jingan Village, etc. In1990s, Zhai Yongming begins to explore poetry itself and payattention to the mental development of women. She makes use of traditional culture to enrich theconnotation and enhance the purport. Meanwhile, her poetry closes to the reality. All these characteristicsindicate her peculiar thoughts to this age. However, in the works of1990s, Tang Yaping and Tang Danhongmake a further interpretation on body writing. According to her “womb poetry” theory, Tang Yapingintegrated body, world and poetry harmoniously.“Womb poetry” theory aims to make this world more poetic.“Body” is a manner to recall the world. She hopes that poetry can realize its poetic regressionthrough “body”. Compared with Tang Yaping, Tang Danhong focuses on the direct depiction of physicalorgans and sexuality.The feminine poetry in1990s plays an irreplaceable role in its development. It inherits the past andforges ahead into the future. It transcends the feminine poetry in1980s, and has an important enlightenmentfor the poetry in the new century. In1990s, female poets interpreted their feelings towards life and the wordthrough different manners. They bloom a unique personal style!... |
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