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Relevant bibliographies by topics / Chinese literature Chinese literature Women and literature War in literature. Women in literature

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Dissertations / Theses
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Academic literature on the topic 'Chinese literature Chinese literature Women and literature War in literature. Women in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Chinese literature Chinese literature Women and literature War in literature. Women in literature"

1

Wang, Yang. "The Image of “Chinese Girl” in Japanese War Literature: Taking Tatsuzo Ishikawa, Ashihei Hino and Hiroshi Ueda as examples." Lifelong Education 9, no. 5 (August 2, 2020): 58. http://dx.doi.org/10.18282/le.v9i5.1205.

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Taking the representatives of Japanese war literature during the Anti-Japanese War as examples, and combining gender studies and analysis on post-colonialism and text, this paper interprets the images of “Chinese girl” in Tatsuzo Ishikawa’s Soldiers Alive, Ashihei Hino’s Hana to Heitai and Hiroshi Ueda’s Koujin. The sexual violence suffered by Chinese women revealed in Soldiers Alive has brought trouble to the writer, while Ashihei Hino was warned by the army department about the description of Chinese women in Hana to Heitai, in which the communication and love between the Japanese army and local women shown coincide with the Japanese policy of “propaganda and comfort”. Hiroshi Ueda is a famous “solider writer” as Ashihei Hino. In his war novel Koujin, Chinese women are also portrayed as being full of “smiles” and kindness to Japanese soldiers. So Chinese women in the Anti-Japanese War were deprived of their national consciousness, thought and resistance, thus becoming “others” without any threat.

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Ying, Hu. "Women and National Trauma in Late Imperial Chinese Literature by Wai-yee Li." China Review International 21, no. 3 (2014): 285–88. http://dx.doi.org/10.1353/cri.2014.0032.

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Chang, Kang-i. Sun. "Women and National Trauma in Late Imperial Chinese Literature by Wai-yee Li." Harvard Journal of Asiatic Studies 75, no. 1 (2015): 222–28. http://dx.doi.org/10.1353/jas.2015.0000.

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4

Edwards, Louise. "Women Warriors and Amazons of the mid Qing Texts Jinghua yuan and Honglou meng." Modern Asian Studies 29, no. 2 (May 1995): 225–55. http://dx.doi.org/10.1017/s0026749x00012713.

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Many cultures include in their narrative discourse tales of women who have gone to war or joined the hunt and indeed Chinese culture has produced a plethora of tales which relate the deeds of such strong and exceptional women. The general opinion from Western academics about these women is that they are rebelling against restraints imposed upon their sex by patriarchal society and ‘under the guise of patriotism or wifely devotion [find] an understandable motive for rejecting hearth and home.’ That patriarchal discourse should perpetuate through history and literature a subversive mode of thinsimply because it was duped by the invocations of patriotism an loyalty appears less than convincing. Certainly, if these are the woman warrior's motives then they have been exceptionally well disguised by the literary redactions of the deeds of the women warriors in Chinese culture. It is the intention of this article to explicate the complexity of the woman warrior in Chinese culture and reveal the multiplicity of discursive functions she fulfils by using the specific case of two mid Qing texts, Honglou meng and Jinghua yuan. The contradictions embodied in the recurring form of the woman warrior and her Amazonian sisters hold a key to understanding the complex and ambiguous signifying systems of sexual ideology in mid Qing Chinese culture. In this respect I will be invoking an Althusserian notion of the specific relationship between ideology and literature whereby the particular feelings or perceptions generated by the literature are regarded as being produced by the ideology within 'which it bathes, from which it detaches itself as art, and to which it alludes' through an internal distanciation from that very same ideology.2 In Honglou meng and Jinghuayuan this internal distanciation is made apparent by the elaborate use of myth in the former and irony in the latter.

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Chin, Grace V. S. "Malayan Chinese women in a time of war: Gender, narration, and subversion in Han Suyin’s And the Rain My Drink." Journal of Postcolonial Writing 57, no. 2 (March 4, 2021): 269–81. http://dx.doi.org/10.1080/17449855.2021.1894791.

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6

Knight, John M. "The “Modern Girl” Is a Communist." positions: asia critique 28, no. 3 (August 1, 2020): 517–46. http://dx.doi.org/10.1215/10679847-8315114.

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Woman was a category in flux during China’s revolutionary 1920s. Alongside commercial magazines that celebrated the arrival of the modern girl (xiandai nüzi) were political currents that prioritized class and nation as sites for women’s liberation. Scholarship has criticized Marxism and the Chinese Communist Party (CCP) for negating women’s gendered interests in favor of a class focus. Yet, it was the proletarian women’s movement of the United Front that attracted the largest amount of women activists during China’s National Revolution (1925–27). What was the allure of a Communist-influenced movement for modern girls whose subjectivities were awakened by Western humanist concerns? This article engages select articles from Chinü zazhi (Red Women Magazine) to argue that China’s proletarian women’s movement reconciled Marxist, nationalist, and feminist demands. It was able to do so largely because it took place at a time when there was no unified Chinese nation to speak of, and the CCP still framed its Marxist rhetoric in a May Fourth lens. An examination into the proletarian women’s movement therefore problematizes Cold War narratives about the antithetical relationship between Marxism and feminism and asks us to reconsider approaches toward fostering interclass and international solidarity.

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7

Lancashire, Edel. "The Lock of the Heart Controversy in Taiwan, 1962–63: A Question of Artistic Freedom and a Writer's Social Responsibility." China Quarterly 103 (September 1985): 462–88. http://dx.doi.org/10.1017/s030574100003071x.

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The early 1960s marked a period of intellectual and literary ferment in Taiwan. The East-West Controversy, which had its roots in the debate that took place in the middle of the last century regarding the continued validity of the Chinese tradition in the face of western military and economic superiority and in the controversy regarding westernization as the road to modernization in the 1930s, had broken out afresh. Creative writers, musicians and painters were experimenting with new forms and new techniques. As early as 1954 the writers of modern Chinese poetry had started the search for a more contemporary expression of their art form; and modern poetry societies, each with its own philosophy on how modernization should take place, had come into being. Writers of fiction who up till then had been almost exclusively concerned with the Sino-Japanese War; the mainland before the communist takeover in 1949, or the various aspects of the struggle against communism, were moving away from this kind of “propaganda-motivated writing” towards the production of “pure literature.” However, there were few modern Chinese creative writers of stature on whom either the poet or fiction writer could model himself. This was because of the ban imposed by the government in Taiwan on the works of writers prior to 1949 due to the association of many of them with communism or with ideologies unacceptable to the authorities. This meant that they had to seek for inspiration in the works of western writers which could be found in translation or in pirated versions of the original texts in the major cities of Taiwan. The traditionalists viewed this growing trend with alarm as did those writers who were closely associated with the Kuomintang. The latter had formed themselves during the early 1950s into three writers' associations, the China Association of Literature and Art, the Chinese Youth Writers' Association, and the Taiwan Women Writers' Association.

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8

Ling, Xiaoqiao. "Women and National Trauma in Late Imperial Chinese Literature. By Wai-yee Li . Harvard-Yenching Institute Monograph Series 92. Cambridge, Mass.: Harvard University Asia Center, 2014. vii, 638 pp. ISBN: 9780674492042 (cloth)." Journal of Asian Studies 75, no. 3 (August 2016): 812–14. http://dx.doi.org/10.1017/s0021911816000735.

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9

Knapp, Bettina L. "Contemporary Chinese Women Writers." World Literature Today 66, no. 4 (1992): 774. http://dx.doi.org/10.2307/40148801.

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10

Xue, Zhao. "Perception of Contemporary Chinese Literature in Russia." Philology & Human, no. 1 (July 15, 2021): 145–56. http://dx.doi.org/10.14258/filichel(2021)1-10.

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This article attempts to comprehend the perception of contemporary Chinese literature in Russia. One of the main research areas of Russian Sinology focused on the study of Chinese literature is Chinese classical literature and modern literature. However, at the turn of the XX-XXI centuries, the interest for contemporary Chinese literature becomes more and more obvious. In recent years, the translation of contemporary Chinese literary works has been continuously developing. The most typical characteristic of contemporary Chinese literature in the interpretation of Russian sinologists is pluralism, which is understood as the simultaneous existence of various literary trends, ideologies, genres, etc. The author analyzes the main trends of reception in the research of Russian scientists and comes to the conclusion that the most interesting for sinologists is the problem of attention to “People” in contemporary Chinese literature, the problem of tradition and modernity, the works of Chinese women writers.

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Dissertations / Theses on the topic "Chinese literature Chinese literature Women and literature War in literature. Women in literature"

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Huang, Xincun. "Written in the ruins war and domesticity in Shanghai literature of the 1940s /." online access from Digital dissertation consortium, 1998. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9906138.

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Wang, Jing. "Strategies of Modern Chinese Women Writers' Autobiography." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392046947.

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Liu, Wen. "Representation of women and dramatization of ideology in modern Chinese literature /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102175.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 192-198). Also available for download via the World Wide Web; free to University of Oregon users.

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4

Yu, Siu-hung, and 余小紅. "Representations of Chinese women in three modern literary texts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31988271.

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Vickery, Eileen Frances. "Disease and the dilemmas of identity : representations of women in modern Chinese literature /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120629.

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Thesis (Ph. D.)--University of Oregon, 2004.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 162-169). Also available for download via the World Wide Web; free to University of Oregon users.

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Yu, Siu-hung. "Representations of Chinese women in three modern literary texts." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31988271.

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7

Mou, Sherry Jenq-yunn. "Gentlemen's prescriptions for women's lives: Liu Hsiang's The Biographies of Women and its influence on the Biographies of Women chapters in early Chinese dynastic histories /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487857546388369.

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8

Chen, Yuling, and 陳玉玲. "A study of subjectivity in the autobiography of modern Chinese women =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B44569713.

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9

李仕芬 and Shi-fan Lee. "The male characters in the fiction of contemporary Taiwanese women writers." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31235979.

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10

Ng, Po-chu. "Writing about women and women's writing a study of Hong Kong feminine fiction in 80s and 90s = Shu xie nü xing yu nü xing shu xie : ba, jiu shi nian dai xiang gang nü xing xiao shuo yan jiu /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36259019.

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Books on the topic "Chinese literature Chinese literature Women and literature War in literature. Women in literature"

1

Women, war, domesticity: Shanghai literature and popular culture of the 1940s. Leiden: Brill, 2005.

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2

Hong, Lu, ed. Nü ren de tian ya: Xin shi ji hai wai Hua wen nü xing wen xue jiang zuo pin jing xuan = Her story. [Shijiazhuang]: Hebei jiao yu chu ban she, 2008.

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3

Zhan zheng ku nan yu nü xing cheng zhang: 20 shi ji Zhongguo nü xing de zhan zheng shu xie. Beijing Shi: Guang ming ri bao chu ban she, 2007.

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4

Zou chu ta de nü ren: 20 shi ji wan qi Zhongguo nü xing wen xue de fen lie yi shi. Beijing: Zhongguo she hui ke xue chu ban she, 2005.

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5

"(Bu) tong guo nü ren" guo zao: Fang tan dang dai Tai-wan nü zuo jia. Taibei Shi: Yüan zun wen hua qi yeh gu fen yu xian gong si, 1998.

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6

Yi zhi wen hua yu jing xia de nü xing shu xie: Hai wai Hua ren nü xing xie zuo bi jiao yan jiu. Chengdu Shi: Ba Shu shu she, 2005.

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7

An ye xing lu: Wan Qing zhi Minguo de nü xing jie fang yu wen xue jing shen. Guangzhou: Ji nan da xue chu ban she, 2010.

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8

Wan Qing xiao shuo zhong de xin nu xing yan jiu. Taibei Shi: Wen jin chu ban she, 2005.

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9

Jin gu de ling hun yu zheng zha de hui xin: Wan Ming zhi Minguo nü xing chuang zuo zhu ti yi shi yan jiu. Kaifeng Shi: Henan da xue chu ban she, 2009.

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10

Ji yi yu xing bie: Wan Qing yi lai Jiang nan nü tan ci yan jiu. Shanghai: Shanghai ren min chu ban she, 2010.

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Book chapters on the topic "Chinese literature Chinese literature Women and literature War in literature. Women in literature"

1

Zhu, Ping. "The Affective Feminine: Mourning Women and the New Nationalist Subject." In Gender and Subjectivities in Early Twentieth-Century Chinese Literature and Culture, 73–98. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137514738_4.

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2

Kam, Tan See. "Three-Women Fiction, Mandarin Ducks and Butterflies." In Tsui Hark's Peking Opera Blues. Hong Kong University Press, 2016. http://dx.doi.org/10.5790/hongkong/9789888208852.003.0006.

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At work in Peking Opera Blues is a deeply intertextual relation to the film adaptations (three-women films) of a popular form of sentimental romance fiction - mandarin duck and butterfly fiction (yuanyang hudie) - which emerged when China, after thousands of years of dynastic rule, first experimented with democracy as an alternative mode of governance and lifestyle. This “fiction of comfort” came under attack by the May Fourth Movement after 1919, and was eventually consigned to the margins of modern Chinese literature. Reading through the lens of “three-women” films like Fate in Tears and Laughters (1932), Three Modern Girls (1933), Sun Moon Star (1960), and The Story of Three Loves (1963), and their women-centered narratives, enables a reading of Peking Opera Blues which reveals some of the ways in which Tsui Hark is able to emphasize the idea of women as narrative images; to highlight female agencies and subjectivities and to explore the rising status of women in the more globally connected, post-Confucian, and post patriarchal consumerist society of Hong Kong.

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3

López-Calvo, Ignacio. "Chinese Women as Exotica." In Imaging the Chinese in Cuban Literature and Culture, 72–79. University Press of Florida, 2008. http://dx.doi.org/10.5744/florida/9780813032405.003.0005.

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Hoefle, Arnhilt Johanna. "The Antibourgeois Bourgeois Writer." In China's Stefan Zweig. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824872083.003.0004.

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Despite the author’s bourgeois class background and the subject matter of his writings, Stefan Zweig’s novellas were among the very few foreign-language works that were still published under Mao Zedong’s strict communist rule. Analyzing the rhetoric of the academic articles and commentaries published with the translations, this chapter traces the trajectories of Chinese perspectives on Stefan Zweig’s works after the founding of the People’s Republic in 1949 and until the 2000s. Declaring Zweig’s novellas to be socio-critical literature, Chinese critics had developed a strategy during the Hundred Flowers Campaign of 1956 to make the writer acceptable to his communist censors. According to their interpretation, Zweig’s works fiercely attack the moral decay, emptiness, hypocrisy and brutality of bourgeois society in which women, in particular, suffer. Even after the Mao era came to an end, this way of reading Zweig’s novellas has persisted. Comparing European and North American narratives on Zweig that construct him as an “apolitical” and “nostalgic” writer, the Chinese reception in fact reveals an important socio-critical impetus, especially of the “women novellas,” that has been ignored in Western academia so far.

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"Turning the Authorial Table: Women Writing Wanton Women, Shame, and Jealousy in Two Qing Tanci." In Wanton Women in Late-Imperial Chinese Literature, 157–83. BRILL, 2017. http://dx.doi.org/10.1163/9789004340626_008.

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"Women as Shapeshifting Fox Spirits in Chinese Tales of the Strange." In Horror Literature and Dark Fantasy, 99–110. Brill | Sense, 2018. http://dx.doi.org/10.1163/9789004366251_008.

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"Preliminary Material." In Wanton Women in Late-Imperial Chinese Literature, i—xii. BRILL, 2017. http://dx.doi.org/10.1163/9789004340626_001.

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"Wanton Women in Late-Imperial Chinese Literature: Models, Genres, Subversions and Traditions." In Wanton Women in Late-Imperial Chinese Literature, 1–26. BRILL, 2017. http://dx.doi.org/10.1163/9789004340626_002.

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"The Polyandrous Empress: Imperial Women and their Male Favorites." In Wanton Women in Late-Imperial Chinese Literature, 27–53. BRILL, 2017. http://dx.doi.org/10.1163/9789004340626_003.

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"The Male Homoerotic Wanton Woman in Late Ming Fiction." In Wanton Women in Late-Imperial Chinese Literature, 54–77. BRILL, 2017. http://dx.doi.org/10.1163/9789004340626_004.

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Conference papers on the topic "Chinese literature Chinese literature Women and literature War in literature. Women in literature"

1

Wu, Sidi. "A Comparison of the Representation of Women in Contemporary Chinese Cinema: The Fifth Generation and the Sixth Generation." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.400.

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Lee, Yuk Yee Karen, and Kin Yin Li. "THE LANDSCAPE OF ONE BREAST: EMPOWERING BREAST CANCER SURVIVORS THROUGH DEVELOPING A TRANSDISCIPLINARY INTERVENTION FRAMEWORK IN A JIANGMEN BREAST CANCER HOSPITAL IN CHINA." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact003.

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"Breast cancer is a major concern in women’s health in Mainland China. Literatures demonstrates that women with breast cancer (WBC) need to pay much effort into resisting stigma and the impact of treatment side-effects; they suffer from overwhelming consequences due to bodily disfigurement and all these experiences will be unbeneficial for their mental and sexual health. However, related studies in this area are rare in China. The objectives of this study are 1) To understand WBC’s treatment experiences, 2) To understand what kinds of support should be contained in a transdisciplinary intervention framework (TIP) for Chinese WBC through the lens that is sensitive to gender, societal, cultural and practical experience. In this study, the feminist participatory action research (FPAR) approach containing the four cyclical processes of action research was adopted. WBC’s stories were collected through oral history, group materials such as drawings, theme songs, poetry, handicraft, storytelling, and public speech content; research team members and peer counselors were involved in the development of the model. This study revealed that WBC faces difficulties returning to the job market and discrimination, oppression and gender stereotypes are commonly found in the whole treatment process. WBC suffered from structural stigma, public stigma, and self-stigma. The research findings revealed that forming a critical timeline for intervention is essential, including stage 1: Stage of suspected breast cancer (SS), stage 2: Stage of diagnosis (SD), stage 3: Stage of treatment and prognosis (ST), and stage 4: Stage of rehabilitation and integration (SRI). Risk factors for coping with breast cancer are treatment side effects, changes to body image, fear of being stigmatized both in social networks and the job market, and lack of personal care during hospitalization. Protective factors for coping with breast cancer are the support of health professionals, spouses, and peers with the same experience, enhancing coping strategies, and reduction of symptom distress; all these are crucial to enhance resistance when fighting breast cancer. Benefit finding is crucial for WBC to rebuild their self-respect and identity. Collaboration is essential between 1) Health and medical care, 2) Medical social work, 3) Peer counselor network, and 4) self-help organization to form the TIF for quality care. The research findings are crucial for China Health Bureau to develop medical social services through a lens that is sensitive to gender, societal, cultural, and practical experiences of breast cancer survivors and their families."

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