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Women's Culture and Writing in the 1990s |
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Part 1: Illusion and Breakout
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"I am a black man and am very much in love with a Chinese woman who also loves me very much. "
SIDHARTHA11
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While women's writing in the 1980s is like a sailing boat on which intellectuals of both
sexes co-worked to row from the dark side to the golden side pushing forward a great
revolution, women's writing in the 1990s is like a fight out of a city of mirrors woven
with illusions and dead alleys.
In other word, large number of brilliant literary works by women in the 1980s brought
forth a variety of writing styles by breaking through the unitary feminine style and
Mulanian style (Mulan, a household name in China, was a girl dressed up as a boy and
became a hero in war). Unfortunately, as a result of the natural superposition of women's
marginal identity and that of intellectuals as a whole in those days, the potential women
speech style was often taken advantage of and submerged by outstanding male writers.
Before the 1990s, in seeking the Mulanian writing style, or rather male or quasi male
style, and trying to exert impact upon men's culture and writing rules, women writers let
go the chance of becoming major broadcasters of women's culture and speech style. Also
they consciously and unconsciously gave up the possibility of impacting or overthrowing
the male chauvinism in culture by making use of their abundant experience. In the 1990s,
however, writings by women were best characterized by women writers' consciousness of
their own sex. But as was expected, once they came into the cultural world as an
independent role, they were immediately confronted with rampart and resistance from
men. What's worse is that they found themselves in a city of mirrors, which had long
trapped them as members in the world of culture.
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