New Female Poetry Writing Posture Transmutation Theory

In the recent two decades, the rapid development of Chinese modernization and the steady improvement of Chinese women's social position have brought into the woman writing field a flourishing prospects, which provided rich soil for the Chinese woman poetry to rise abruptly. The criticism for woman poetry also made great strides forward, which soon rose to be an important field and hot topic in contemporary literary study. However, we still think that though woman poetry of the new period went through great adjustment and transformation in a large scale, and gained a lot of achievements, it was still far form mature. Benefiting from Mr.wu sijing's metaphoric expression, that "the appearance of Shu ting, like a swallow, brought the message of the arriving of the spring of woman poetry", this article strategically named this historical period (1977-2003) as the spring of woman poetry of the new period.Based on the necessary definition for the new period, woman poetry and writing gesture of woman poetry of the new period will be divided into three periods for the convenience of discussion: the first period (1977-1983), which is marked by Shu Ting's To Oak Tree, is the early spring. In this period, woman poets began to make out their own voice as sensitive awakers by reexamining historical myths, real life and political language. The representative poets are Shu ting and Lin zi. The second period (1984-1999), which is marked by Zhai yongming's set of poems. Women and it's preclude, consciousness of the Night, is the middle spring. In the period, woman poets began to create women images, woman Language and woman writing space as persevering constructors. The representative poets are Zhai yongming, Wang xiaoni, Tang yaping and Yi lei. The third period (2000-2003), which is marked by the rapid emergence of woman poets of the new generation who write by means of Internet, is last month of spring. In this period, woman poets began to express women's secular emotions, desires and Lining conditions as relaxed players. The representative poets are Yin lichuan and Wu ang. Through intensive textual reading of the representative works of those leading poets, this article goes further to explain the existing difference among the three periods and analyze the meaning and limits of them respectively.Through the analysis of social background, collection of poets' personal materials and the deep exploration of the textual content centering around writing gesture, this article tries to tidy up the history of the woman poetry of the new period, so as to drawa comparatively clear map for woman poetry. The transformation and co-existence of writing gestures established an inner order for woman poetry, by which we can not only form a deeper and new understanding on the leading woman poets and their works in the three periods, but also draw a reasonable conclusion about the position and contributions of woman poetry.Celebrating for the achievements made by woman poetry, we can't also ignore the problems harassing woman poetry. Only in a increasingly multiple writing atmosphere, when adjusting its writing gesture to a more reasonable state by making use of the strength of the inherent rules of poetry, woman poetry can produce more ideal works.