Abstract

abstract:

Loyal to the path spotted by the avant-garde and in contrast to the aesthetics of socialist realism, Chinese female literary production in the post-Mao era is iconoclast in its intentions. Having the ideological truth being stripped away from the text, the shaking reality writers draw up their ideas is staged on the individual's impressions and experiences. However, considering this literature as all-encompassing realism would be misjudging the reality of postmodern China. The object of the present study is to define the literary experience of Chinese postmodernism from the perspective of four ontologically different female writers.

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