Thesis (Ph. D.)--University of Washington, 1998 This dissertation investigates the extent to which treating women poets as a marked category, or special case, is meaningful, through the study of the work of nine women writing Chinese vernacular poetry in China, Taiwan, and Hong Kong. This study examines the question of when and where gender might be manifested in language, subject matter, and
... [Show full abstract] voice, and further assesses whether or not it is possible to make generalizations about women's writing as such.The careers of the nine poets (Ping Hsin, Lin Whei-yin, Ch'en Ching-jung, Cheng Min, Lin Ling, Hsiung Hung, Hsi Hsi, Chai Yung-ming, and Hsia Yu) span the decades from the 1920s to the 1990s, and this dissertation situates each poet's work in its historical, cultural, and literary context. Taking each body of work to be both the reflection of an individual woman's consciousness and of her environment, this dissertation attempts to define the ways in which individual women writers express (or do not express) in their poetry an awareness of themselves as women, while examining the social and aesthetic implications of these varying modes of expression.The study concludes that, although some women articulate a strongly female point of view, it is not meaningful to treat women as a special, or marked, category, and that it is impossible to make generalizations about women's writing as such. There appears to be no linguistic basis to distinguish between women's poetic language and men's poetic language; rather, women's writing is a reflection of women's experience, as diverse as the women themselves.