70s Born Female Writer And Its Implications

In the middle and late 1990s,a group of female writers who were named as "writers born in 1970s"were paid great attentions by critics. This thesis inquires into the name and points out its question. In reality, the female writers were very active, but the male writers kept silent. So this name cannot reflect the fact. On the other side, on the critic, some unique female writers were emphasized, but the others were neglected. This name is not complete. Therefore, it is more acceptable to name them as "female writers born in1970s".By introducing several important female writers born in 1970s, this thesis explains that they have two different styles. One is the unique romantic writing, such as Weihui, Mianmian, and Zhoujieru. The other is the public realistic writing, such as Zhuwenyin, Jinrenshun, and Dailai. Although their styles are different, but the obvious group-consciousness brings them some characteristics: on subject matters, city as hometown, on writing standing, dialogue with existence; on subjects, around the pain of growing.As a young group born in 1970s, female writers were growing up with the development of market economics; so their writings would inevitably imprinted by it. This was a typical phenomenon in 1990s'literary. Therefore, looking through the phenomena, the hope and predicament which contemporary literary faces in market economics are to be discovered. This thesis holds that, through the wide use of the strategy of individual narrative by female writers born in 1970s, contemporary literature has refused the political influences. From collective to individual, the literary independence was confirmed. Thus contemporary literature was full of hope. Besides, by analyzing the ways of their presence and the connotations of their texts, it is clear that under the market condition, literature and market collude, which has dismissed the depth of literary meaning and lost the poetry of literature.