少数民族女性诗歌大多隐去了民族身份,更多的表现为一个自由知识分子的写作。她们生活在不同的民族文化背景,拥有不同的价值取向和追求,思考来自文化冲突与族群认同的女性观,从而谱写与歌唱出具有女性化的人文关怀的民族心声。她们的声音来自她们的心灵深处,自然天成,不假修饰;她们的诗歌不矫情,不会去刻意媚俗,她们只想在一个所谓的“后现代”的年代里,显示一种与众不同的诗歌个性和来自“在那遥远的地方”的声音──清远、澄彻而透明。她们用诗歌实践着真实的自我甚至潜意识的自我。作为现代女性,少数民族女诗人以自由的姿态写自由的诗歌,她们用自己女性独特的敏锐的女性思维去思考和体验人生、女性、爱情等宏大命题,而作为少数民族,她们是母族稀释了的血脉,她们与自己的母族保持着一种剪不断的联系。通过一些少数民族女性诗人特别关注的诗歌意象和隐喻的表达,她们的诗歌因此具有女性诗人特有的异质性,这正是著名女性主义者克里斯蒂娃女性诗学的理论诉求。 Most minority female poems hidden national identity, more performance as a free intellectual writing. They live in different national and cultural backgrounds, have different values ​​and pursuits, think about women’s views from cultural conflicts and ethnic identities, and compose and sing the national aspirations of the feminine humane care. Their voices come from the depths of their souls, they are naturally natural, and they are not falsely decorated. Their poems are not hypocritical and they are not intended to be kitsch. They just want to show in their so-called post-modern era The distinctive poetic personality and the voice from “Where That Is Far?” - Qingyuan, is clear and transparent. They use poetry to practice true self or subconscious self. As a modern woman, the minority poets freely wrote poems of freedom. They used their own unique and keen female thinking to think and experience grand questions such as life, women and love. As a minority, they were the mother’s dilution The blood, they maintained a constant contact with their mother. Through the expression of poetry images and metaphors which are paid special attention by some ethnic female poets, their poems thus have the unique heterogeneity of female poets, which is exactly the theoretical appeal of the famous feminist Christian Poetics.