The Evolvement Process Of Female Ideology In Chinese Female Poems In The Recent Twenty Years

Great changes have taken place in Chinese contemporary female poems in respect with quantity and quality since the prosperity of Chinese literature in the 70's. What are the similarities and differences when we compare the female ideology in different stages of the Chinese female poems? What is their relationship in the evolvement process? How does the female ideology affect the language technique in the female poems? What effects does the environment of the whole Chinese contemporary poems has on the female poems? In this thesis I would like to analyze the changing of the female ideology and the language technique of Chinese female poems in the recent twenty years.Two related aspects of the revolutionary change of Chinese poetic writing in the 90' are discussed in the first chapter of this thesis since the changing of the principle of writing female poems is happening simultaneously with the changing of the whole Chinese poetic writing. That is, the changing from youth writing to middle-age writing, from "what" to "how", from writing the experience of the whole union to that of individual and from the essentialized way of expressing to rhetoric way.hi the second chapter, two period of Chinese female poems are divided. The first period is before the 90' and the second is after the 90'.As to the first period, we can further divided it into two stages. The first stage is represented by Shu ting's poems. The female ideology reflected in this stage is a kind of unconscious awareness, a lack of keen insight.The second stage is represented by Tang yapping, Hainan, and Qu yongming's "Black series". The female ideology in this stage has developed into a kind of female voice of time and is expressed through "Self-announcement" language construction technique. The female poems in this stage are thoroughly controlled by the female ideology hi some degrees and thus greatly reduced the esthetic value of the poems themselves.The second period is the mature period of female poems. Attention in this stage has turned from the female ideology to the writing technique of poems, and female ideology is put behind the poems as an "absent existence". When poems are looked as poems themselves, female ideology also becomes the real kind of female ideology.The outlook of the Chinese female poems is given briefly in the last chapter which described an ideal but still far-out picture for the future of the female poems.