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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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Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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5

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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6

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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11

Wang, Bo. "Inventing a Discourse of Resistance: Rhetorical Women in Early Twentieth-Century China." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1188%5F1%5Fm.pdf&type=application/pdf.

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12

Shen, Ruihua. "New woman, new fiction : autobiographical fictions by twentieth-century Chinese women writers /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3113028.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 339-366). Also available for download via the World Wide Web; free to University of Oregon users.

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13

Ng, Yor-ling Carly, and 吳若寧. "Representing Chineseness: the problem of ethnicity and sexuality in Chinese American female literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47753158.

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The potential confrontation of Oriental and Occidental values represents one of the most important topics of scholarship since the twentieth century. Within this debate, American-born Chinese female writers occupy a unique position in their preoccupation with the two seemingly irreconcilable cultures. On the one hand, their Western upbringings entices the distortion of China from an Orientalistic perspective, on the other hand, they find their desire to come to terms with their ethnic cultural heritage to be equally difficult to supplant. It is a dilemma which sparked conflicts even within the Chinese American community, and begs the redefinition of the Chinese American female identity. It is thus, by applying Simone de Beauvoir’s ethical notions about Self/Other relations to the writings of Chinese American female writers, I consider how subjectivity is not substantive but a situated experience of selfhood in movement, and argue that Chinese American female writers may still be internalizing and perpetuating oriental stereotypes in their works, when they too have started re-orienting and hence, re-orientalising China and their Chinese identity. The United States of America is to Chinese American women as alienated at times as China. Under the framework, I further consider the futility of disputing the dual identity of Chinese American female writers to the extent to which identity can be considered as an ambivalent and ambiguous notion that has a temporal element in it. As a writer writes first and foremost about his or her own singular experiences in relation to the world, this thesis tackles the above question by examining how elements of anguish, solitude, and death, as noted by Beauvoir, and that are often present in Chinese American female writers’ accounts of their singular experiences, connect them to others. Through the evocation of such elements to establish the connection between Self and Other, which constitutes the authenticity of self-expression as opposed to suppression of self-assertion, one’s struggle with separation and one’s own truth is represented. In this sense, it is not, the ultimate result or triumph of an individual’s struggle with unity or individuality that matters; but rather, the process of self-struggle that corresponds to the dignified human existence within Beauvoir’s philosophical framework. The three elements of situation anguish, death and solitude are dealt with in this project in the following context: in Chapter Two, Ann Mah’s anguish over Chinese and American food is examined in connotation to the relations of herself with others around her that coerces her to reflect upon her ethnic and cultural affiliations. In Chapter Three, death is explored through the discussion of the footbinding notion in which the death of the foot signifies the end of docile acceptance as well as the beginning of transformations. Solitude is elucidated in Chapter Four through Maxine Hong Kingston’s warrior woman conceptualization that adopts and later re-orientalises silence. In all three situations, I pay attention to the way re-orientalisation is achieved in the Chinese American female project of selfhood in movement towards the Other.
published_or_final_version
Chinese
Master
Master of Philosophy

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14

Chan, Suet Ni. "Women at crossroads : a study of women's search for identity in twentieth century Chinese-American fiction." HKBU Institutional Repository, 2009. https://repository.hkbu.edu.hk/etd_ra/1095.

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15

Bai, Di. "A feminist brave new world : the cultural revolution model theater revisited." Connect to resource, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1129217899.

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Thesis (Ph. D.)--Ohio State University, 1997.
Advisors: Kirk Denton and Marlene Longenecker, Interdisciplinary Program. Includes bibliographical references (leaves 196-202). Available online via OhioLINK's ETD Center

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16

Hsieh, Hsin-Chin. "Life on the Move: Women's Migration and Re/making Home in Contemporary Chinese and Sinophone Literature and Film." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19322.

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My dissertation examines the transformation of family and the reinvention of home from migrant women’s perspectives as represented in contemporary Chinese and Sinophone literature and film. In the era of globalization, people are increasingly mobile both within and across borders, resulting in the reshaping of family structure and re-conceptualization of home. In this dissertation I contend that migration is closely related to family dynamics and that migration also facilitates women’s agency in transforming family structure, navigating cultural differences, and negotiating with local societies and nation-states. The Chinese concept of jia 家 can be translated into English as family, home or house, and “homeness” in the context of Chinese migration is particularly associated with a geographical origin, a dwelling, a settlement, or familial intimacy. In this regard, I argue that migration is a process which reflects tradition, modernity and transnationalism, yet it can move beyond the metanarrative of homeland and nationalism that is often promoted by patriarchal cultural producers. I treat home as a locally defined notion to offer an alternate understanding of women migrants’ localization rather than focusing on the myth of return to the homeland. Women’s transgression of the boundaries of the household and their movement to other geographical locales transform their gendered role within the family, inciting their agency in opposing patriarchy and nationalism and creating space within which to negotiate the challenges of gender inequity, cultural difference, and marginalization. In contrast with the male-centered grand narrative featuring nostalgia for the homeland, I find that tales of women migrants show their protagonists eagerly adapting to their host countries and embracing local experiences. Hence, my dissertation focuses on the literary and cinematic representation of women migrants in contemporary Chinese and Sinophone literary works, documentaries and fictional films and explores four types of movement: immigration to North America, multiple transnational movements, cross-Strait migration from Taiwan to China, and new marriage-based immigration in Taiwan. Analysis of these works will improve understanding of the transnational flow of populations, the contested notion of home in migration, as well as the ways in which place-based literary and cultural productions are influenced by real-world migration.
10000-01-01

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17

齊曉楓 and Hsiao-feng Chi. "Patterns of husband selection in traditional Chinese fiction and drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238312.

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18

Le, Nga. "Women in Zhang Ailing's short stories : an insight into her vision of life and place in Chinese literature." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28416.

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My ultimate goal in writing this thesis is to define the uniqueness of Zhang Ailing's vision of life, based on specific meanings detected in the formal aspects of her fiction, and to assess Zhang's artistry in the context of Chinese literature. I proceed, first, by analyzing the reciprocal relationship of form and meaning in Zhang Ailing's short stories. The formal aspects of Zhang's works reveal meaningful details about the oppressive situations of her female characters. The way they each respond to their situations differs by their aggressive or submissive characters, and conformist, independent or rebellious thoughts. Their antiromantic attitude characteristically reflects the author's vision of life. Zhang's thoughts and emotions which constitute this vision of life will be inferred, next, from details related to her female characterization, but also beyond these confines. It is interesting to peel off Zhang's reputation of being a stern, emotionless writer and perceive underneath it her psychological and moral preoccupations, and underlying emotions. Conversely, I will elicit the influence of Zhang's vision of life on her aesthetic expression. Finally, Zhang's originality and talent can only be assessed accurately in light of the traditional and modern Chinese literary background. Continuities can be established regarding her female topics and characterization; but a stronger feminine consciousness is discovered in Zhang's works. The traditional Chinese lyrical expression is creatively dissimulated behind her symbolic use of environment and impressionistic description of people. Zhang's mastery of the unity of form and content, her vivid style and use of cinematic techniques in literature greatly enhance her artistry.
Arts, Faculty of
Asian Studies, Department of
Graduate

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19

Yan, Qigang. "A comparative study of contemporary Canadian and Chinese women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21657.pdf.

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20

Lui, Hoi Ling. "Gender, emotions, and texts : writings to and about husbands in anthologies of Qing women's works." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1201.

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21

Chang, Mei-tsu, and 張美足. "A study of the prose-writings of contemporary women writers in Taiwan (1980-2000) =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45014668.

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22

Wang, Jianhui. "Sexual politics in the works of Chinese American women writers Sui Sin Far, Maxine Hong Kingston, and Amy Tan /." Open access to IUP's electronic theses and dissertations, 2007. http://hdl.handle.net/2069/51.

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23

Zhu, Fan, and 朱凡. "The earthly world and the red chambers : Qing women's self-representation and mediations with traditions in their writings on the Dream of the red chamber." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195974.

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This thesis studies the Qing women’s writings on the Dream of the Red Chamber. Qing women’s comments on the novel formed an important aspect of the second high tide of women’s literature in late imperial China. By examining these writings, I intend to reveal how the women authors mediated with the Confucian morality and how they exerted influence on the literary tradition from its inside. I also intend to examine the women authors’ self-representations and their reflections on the actual world they lived in. The thesis consists of five chapters. Chapter one introduces the historical background of the rise of women’s writings on the Dream of the Red Chamber, and proceeds to discuss women’s self-representations under the influence of the Chinese literary tradition, as well as the conflict between morality and literary talent they often felt. I will also briefly summarize previous scholarly works concerning this subject. Chapter two analyzes Qing women’s poetic works and literary activities concerning the novel. I will make a few observations on the general tendency of women’s responses to the novel by examining their writing conditions, communities, the points they wanted to articulate, and their literary skills. Chapter three and four investigate two women writers, namely, Wu Lanzheng and Gu Taiqing, respectively. Among the dramatic works adapted from the novel, Jiang Heng Qiu by Wu is known to be the only existing work written by a female author. In this part of my discussion, I will include Wu’s poetic works on the novel and her personal experiences to shed light on the dramatic work. On the other hand, Honglou Meng Ying (The shadow of the Dream of the Red chamber) by Gu is the most profound and extensive response to the original novel by a female author. Considering that Gu’s life was quite similar to the literary characters in the book and a variety of her writings have survived, I will conduct a detailed study of her poetic and dramatic works before I look into her novel. The closing chapter draws conclusions from the previous chapters in the following three aspects: first, the influence of the textual world on the reality; second, women writers’ tendency of adopting the values of morality and literary talent concurrently, as well as their contributions to the literary tradition; and, third, the significance of Gu Taiqing’s case and Honglou meng ying. To sum up, inspired by the Dream of the Red Chamber, the Qing women authors undertook a rich variety of literary activities which demonstrated the complex relations between self and writing, and these women’s life experiences and creative activities also constituted an earthly picture of the “red chambers”.
published_or_final_version
Chinese
Master
Master of Philosophy

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24

Chin, Voon-sheong Grace, and 秦煥嫦. "Expressions of self/censorship: ambivalence and difference in Chinese women's prose writings from Malaysia andSingapore." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245237.

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25

Jiang, Yun. "The Making of the Ephemeral Beauty: Acceptance and Rejection of Patriarchal Constructions of Hongyan Boming in Late-Ming Texts." Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24177.

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This thesis explores how late-Ming writers interpreted the expression “beauty is ill-fated” (hongyan boming) and how male and female writers constructed and accepted the image of the ephemeral beauty (hongyan) differently. I argue that late-Ming male literati destigmatized and immortalized hongyan, but their interpretations of hongyan reinforced male fantasies about women, and served the status quo of the patriarchal family structure as well as the established literary conventions of the time. Female writers, conversely, often rejected the image and idea of hongyan and even managed to assert female subjectivity in order to reinterpret the male-constructed hongyan. However, ultimately, female writers of the period could not escape from the containment of these patriarchal literary conventions. Even for those female writers who have preserved their voices in their writings, women’s self-expressions have always been undergoing a seemingly infinite process of reinterpretations and reconstructions by male literati.

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26

Ng, Po-chu, and 伍寶珠. "Writing about women and women's writing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36259019.

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Lingenfelter, Andrea Diane. "A marked category : nine women of modern Chinese poetry, 1920-1997 /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11129.

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28

Chan, Kar Yue. "Ambivalence in poetry : Zhu Shuzhen of the Song Dynasty." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/28704.

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Many people in the past praised Chinese literature partly because of the glamour revealed in splendid poetry, and in creating these poetry male poets have proved their excellence. Conversely the contributions of women poets have seemed much less significant in the history of traditional Chinese literature. Among the relatively small number of famous women poets in China, Zhu Shuzhen (11357-1180?) is certainly worthy of discussion, but she has not received much critical attention, in part because of the lack of reliable biographical information. Although some of Zhu Shuzhen's poems have been seen by some scholars as disgraceful, it is nevertheless valuable to explore the inner world and poetic indications of the voice projected from the poems in an objective way. However, as the number of poems attributed to Zhu Shuzhen is large, despite living under an atmosphere that discouraged the writing of poetry by women, her name is undoubtedly significant in the development of female poetry. Western theories of gender representation and the development of self in literature have been used as the main sources and frameworks for research in this thesis. The aesthetic values in Zhu Shuzhen's original verse have been retained through my translations by selecting the best appropriate original versions in different editions. Comparisons between Zhu Shuzhen and Yu Xuanji fa, (8447-868?), a woman poet in the Tang Dynasty, reveal similarities and differences which distinguish the two in terms of their resistance to the code that cast women as inferior. This thesis will analyse Zhu Shuzhen's ambivalent mind as revealed in her poetry through her contradictory statements, ideas and images regarding the notion of being a good wife on the one hand, and, on the other hand, of a woman suspected of conducting an extramarital affair.

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29

Pu, Xiumei. "Spirituality a womanist reading of Amy Tan's "The bonesetter's daughter" /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07192006-191437/.

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Thesis (M.A.)--Georgia State University, 2006.
Title from title screen. Layli Phillips, committee chair; Margaret Mills Harper, Carol Marsh-Lockett, committee members. Electronic text (64 p.) : digital, PDF file. Description based on contents viewed Apr. 20, 2007. Includes bibliographical references (p. 57-64).

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Lo, Keng-chi, and 盧勁馳. "Politicizing female subjectivity: performativity and sublimation in leftist writers Yang Mo, Xiao Hong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199503.

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The thesis deals with the concept of feminine sublimation among Chinese feminist writings and theory. Previous feminist readings of literary works of Chinese female writers tended to confuse the Freudian concept of sublimation with “aestheticized politics” and utopian desire. These feminist readings have concentrated on articulating an authentic subject beyond power relations. I would however, redefine the concept of feminine sublimation as a theoretical trope to articulate the possible emergence of female subjectivity within specific power relations. Although gender performativity has become a universally circulated concept to theorize the subversive depiction of female bodies in particular cultural contexts, I argue that any performative reiteration would not be adequately contextualized and historicized when its usage ignores issues of female subjectivity in terms of sublimation. Chapter one of the thesis begins with various feminist approaches to the relationship of sublimation and performativity. Chapter two re-reads a novel Song of Youth in the socialist era. The conventional conception of sublimation is re-examined contextually in a way that the consideration of gender performativity alone would not be able to do. Through reading a canonical work of the “nationalist feminist” writer Xiao Hong, chapter three delineates the relation between my redefined concept of feminine sublimation and the possibility of political coalition, and explains how this relation provides a totally different understanding of performative reiteration. I would finally redefines the fundamental relationship between feminist subjectivity and performative politics.
published_or_final_version
Comparative Literature
Master
Master of Philosophy

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31

Liu, Wenjia 1981. "The tanci "Feng shuangfei": A female perspective on the gender and sexual politics of late-Qing China." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11140.

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x, 276 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The late-Qing tanci "A Pair of Male Phoenixes Flying Together" (Feng shuangfei ; preface dated 1899) is unusual for its depiction of a wide variety of gender issues and sexual relationships. Because the 52-chapter work is credibly attributed to the female poet Cheng Huiying, who is known to have written the poetry collection Beichuang yin 'gao , the tanci gives scholars a unique opportunity to see how a gentry woman thought of the gender roles and sexual politics of the late Qing. My dissertation contains two major sections. Chapters I and II look at Cheng Huiying and her work as part of the `talented women" ( cainü ) culture. These two chapters demonstrate how Cheng Huiying deliberately establishes herself as a unique female writing subject and advocates women's agency in determining their own marriage arrangements. one of women's biggest concerns in premodern China. Chapters III to VI put Feng shuangfei into the larger context of male-authored fiction and examine how it adopts and rewrites the conventions and motifs common to xiaoshuo fiction from a female writer's perspective. I first argue that Feng shuangfei can be considered a serious literary work due to its sophisticated structural design and characterization, although tanci are usually considered as more popular literature. I then evaluate how the female author of this tanci subtly reinvents three gendered motifs that commonly appear in male-authored xiaoshuo fiction. The three motifs are male same-sex eroticism and homosociality, female same-sex desires, and the stereotypes of shrew and ideal wife. Through subtle twists in the plot, the tanci suggests the possibility of the expression of female subjectivity and agency within patriarchal Confucian society even while it follows and supports the normative Confucian order. The perspectives on gender norms and sexual practices offered in this tanci both display how a gentry woman thought about these issues in late imperial China and suggest how the rapid and vast social and ideological changes occurring during the turn of the century opened new spaces for Cheng Huiying to imagine increased agency and autonomy for women within the domestic sphere.
Committee in charge: Maram Epstein, Chairperson, East Asian Languages & Literature; Yugen Wang, Member, East Asian Languages & Literature; Tze-lan Sang, Member, East Asian Languages & Literature; Ina Asim, Outside Member, History

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Shultz, Rebekah Elizabeth. "The role of Taoism in the social construction of identity in The Joy Luck Club." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2060.

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David, Elise J. "Making Visible Feminine Modernities: The Traditionalist Paintings and Modern Methods of Wu Shujuan." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.

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Xu, Sufeng. "Lotus flowers rising from the dark mud : late Ming courtesans and their poetry." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102831.

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The dissertation examines the close but overlooked relationship between male poetry societies and the sharp rise of literary courtesans in the late Ming. I attempt to identify a particular group of men who devoted exclusive efforts to the promotion of courtesan culture, that is, urban dwellers of prosperous Jiangnan, who fashioned themselves as retired literati, devoting themselves to art, recreation, and self-invention, instead of government office. I also offer a new interpretation for the decline of courtesan culture after the Ming-Qing transition.
Chapter 1 provides an overview of the social-cultural context in which late Ming courtesans flourished. I emphasize office-holding as losing its appeal for late Ming nonconformists who sought other alternative means of self-realization. Chapter 2 examines the importance of poetry by courtesans in literati culture as demonstrated by their visible inclusion in late Ming and early Qing anthologies of women's writings. Chapter 3 examines the life and poetry of individual courtesans through three case studies. Together, these three chapters illustrate the strong identification between nonconformist literati and the courtesans they extolled at both collective and individual levels.
In Chapter 4, by focusing on the context and texts of the poetry collection of the courtesan Chen Susu and on writings about her, I illustrate the efforts by both male and female literati in the early Qing to reproduce the cultural glory of late Ming courtesans. However, despite their cooperative efforts, courtesans became inevitably marginalized in literati culture as talented women of the gentry flourished.
This dissertation as a whole explores how male literati and courtesans responded to the social and literary milieu of late Ming Jiangnan to shed light on aspects of the intersection of self and society in this floating world. This courtesan culture was a counterculture in that: (1) it was deep-rooted in male poetry societies, a cultural space that was formed in opposition to government office; (2) in valuing romantic relationship and friendship, the promoters of this culture deliberately deemphasized the most primary human relations as defined in the Confucian tradition; (3) this culture conditioned, motivated, and promoted serious relationships between literati and courtesans, which fundamentally undermined orthodox values.

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35

Gao, Xiongya. "Images of Chinese women in Pearl S. Buck's novels : a study of characterization in East wind, west wind, Pavilion of woman, Peony, The good earth, and The mother." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/862280.

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This study is an analysis of images of Chinese women in five of Pearl S. Buck's novels: East Wind: West Wind, The Good Earth, The Mother, Pavilion of Women, and Peony. Buck's female characters, with their different degrees of individuality and typicality, form a realistic picture of Chinese women.In terms of thematic content, the study shows that all Buck's female characters use their limited power within the constraints of their society to achieve what they deserve, often employing different, covert ways, some manipulation, and even a little deception.The significance of this is that it reveals, in an artistic way, the social conditions under which Chinese women at Buck's times lived. Chinese women had been very much oppressed. In order to survive, they had to act in ways acceptable by their society. However, they had, just as their male counterparts, the desire to love, to be happy, to maintain dignity, and to be free. What is more important, they were intelligent, courageous, and capable of fighting to achieve their goals for themselves.Buck portrays her female characters both as typical of Chinese women in general and as strong individual figures, each facing different conflicts, in a variety of social, familial situations, with unique characteristics. In order for the Western readers to understand the cultural content in which the individuals function, Buck gives her Chinese characters enough typicality as a solid foundation for the Westerners to interpret their behaviors.It is not difficult for the reader to see how the Confucian doctrines and the social conditions concerning Chinese women are truthfully reflected in the novels herein analyzed. Therefore, different degrees of individualization of these characters result from differing themes of the novels in which they appear.
Department of English

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36

Isbister, Dong. "The “Sent-Down Body” Remembers: Contemporary Chinese Immigrant Women’s Visual and Literary Narratives." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259594428.

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黃嫣梨. "兩漢主要女文學作家研究." Thesis, University of Macau, 1986. http://umaclib3.umac.mo/record=b1636204.

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張曈. "論二十世紀九十年代女性私人化寫作 = The privatization of female 'personal' writings in the 1990s." Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1636983.

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39

李一之. "門裡門外性別之思 : 澳門初中語文教科書中的女性形象分析." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2178397.

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Leduc, Noëmie Anne. "« Nourricritures » sino-américaines : la représentation de l'alimentation chez Gish Jen, Fae Myenne Ng et Amy Tan." Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30031.

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Cette thèse porte sur l’œuvre d’écrivaines sino-américaines de deuxième génération : Amy Tan, Gish Jen et Fae Myenne Ng. Nous étudions plusieurs de leurs romans dans lesquels la nourriture constitue un thème particulièrement significatif : The Joy Luck Club (1989), The Kitchen God’s Wife (1991) et The Hundred Secret Senses (1996) de Tan ; Typical American (1991) et Mona in the Promised Land: A Novel (1996) de Jen ; et enfin, Bone (1993) et Steer Toward Rock (2008) de Ng. Il s’agit de démontrer que l’alimentation et ses corrélatifs sont liés à de multiples processus de déstabilisation et de reformulation des normes identitaires tant ethniques que genrées ou littéraires, en mettant en lumière les lignes de convergence mais également les divergences dans la façon qu’ont les auteurs d’écrire la nourriture. Celle-ci est au cœur de la construction de l’identité. La bouche est la zone liminale de l’incorporation ou du rejet des mets et impératifs extérieurs, dont l’ingestion et la digestion ou le crachement et le vomissement permettent de façonner ou de délimiter dans un même temps les corps physiologiques, sociaux, culturels et psychologiques, individuels et collectifs. Il s’agit alors d’explorer le contexte spécifique qui sous-tend la centralité de l’alimentation dans les diverses communautés sino-américaines et les romans qui les représentent. Cela nous permet ensuite d’étudier en quoi les scènes culinaires sont, pour les écrivaines, des topoi privilégiés afin de souligner de multiples problématiques interculturelles, genrées et scripturales, et ainsi de redéfinir les attentes et les modalités qui régissent leur représentation
This dissertation deals with the literary production of three second-generation Chinese American women writers: Amy Tan, Gish Jen et Fae Myenne Ng. It focuses on some of their novels in which food plays a central part: The Joy Luck Club (1989), The Kitchen God’s Wife (1991) and The Hundred Secret Senses (1996) by Tan; Typical American (1991) and Mona in the Promised Land: A Novel (1996) by Jen; and Bone (1993) and Steer Toward Rock (2008) by Ng. It aims to show that food and all other elements related to it are linked to multiple processes of ethnic, gender and literary identity destabilization and reformulation. It highlights both common and diverging features between the different ways in which the authors write about food, which is itself a paramount element in identity construction. The mouth is the liminal area through which the incorporation or rejection of external food and imperatives are carried out. Ingestion and digestion, or spitting out and vomiting enable subjects to shape or delimit physiological, social, cultural and psychological bodies simultaneously, both on a collective and on an individual level. This dissertation thus explores the specific contexts related to food in the diverse Chinese American communities represented in the novels. It then analyzes how culinary scenes are useful topoi for the writers to underline several intercultural, gender, and scriptural issues, and thereby to redefine the expectations and the terms that underlie their representation

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41

Liu, Peng. "The Way of Darkness and Light: Daoist Divine Women in Pre-Modern Chinese Fiction." Thesis, 2018. https://doi.org/10.7916/D88D17NF.

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A mysterious goddess magically generates a swirling wind to conceal the body of a hero. A licentious flower deity seduces a male to experiment with forty-three postures of copulation in a picturesque garden. Such graphic details of late imperial Chinese fiction exhibit two types of power from women: their martial prowess and seductiveness. This dissertation brings these two types of female power together by focusing on the Mysterious Woman (Xuannü 玄女) and the Immaculate Woman (Sunü 素女), two Daoist goddesses who figure prominently in martial arts and erotic stories, respectively. I argue that after being marginalized by institutionalized Daoism, these goddesses played a pivotal role in framing two different, though occasionally interrelated, types of novels. One type of novel concerns war and public affairs, including dynastic crises; the other type concerns domestic life, as exemplified in erotic fiction. The metaphor that equates sex with war relates these two types of stories. I consider these fictional texts to be powerful agents that reused and reinterpreted the goddesses’ stories in late imperial China. I also situate these texts in the cultural network within which they constructed or reconstructed the goddesses’ images in collaboration with Daoist discourse. In this research, I also examine how femininity (yin 陰) is constructed in late imperial Chinese fiction. As I argue, the ideas of invisibility (yin 隱) and licentiousness (yin 淫) constitute the notion of femininity. The Mysterious Woman demonstrates the power of invisibility when being portrayed as a goddess of war and associated with Daoist magic, such as the magic of invisibility (yinshen shu 隱身術). The Immaculate Woman represents the idea of licentiousness as she appears in various forms to seduce male protagonists. The dissertation contains two sections. The first part focuses on the following fictional texts: Water Margin (Shuihu zhuan 水滸傳), Quelling the Demons’ Revolt (San Sui pingyao zhuan 三遂平妖傳), Bull’s Head Mountain (Niutou shan 牛頭山), and Unofficial History of Female Immortals (Nüxian waishi 女仙外史). In this part, I show how the Mysterious Woman is depicted as a war goddess and a moral agent in stories concerning war, rebellion, and dynastic crises. The second part of the dissertation discusses Su’e pian 素娥篇 (The Story of Su’e), Zhulin Yeshi 株林野史 (Unofficial History of the Forest), Yesou puyan 野叟曝言 (Humble Words of A Rustic Elder), and Honglou meng 紅樓夢 (Dream of the Red Chamber). These works create various literary reincarnations of the Immaculate Woman. These reincarnations guide male protagonists to their spiritual awakenings by means of sex. While drawing on fictional and Daoist texts to rebuild the history of the Mysterious Woman and the Immaculate Woman, this research illuminates a complex relationship between Chinese fiction and Daoism.

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Fyler, Jennifer Lynn. "Social criticism in traditional legends: Supernatural women in Chinese zhiguai and German Sagen." 1993. https://scholarworks.umass.edu/dissertations/AAI9329608.

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The literary image of the dangerously powerful woman indicates conflict around women's roles in the cultural milieu that gave rise to the text. This interaction between social reality and literary text is most apparent in a culture's legends. Legends may be briefly defined as narratives describing the unordinary to which the audience and/or the teller ascribe the status of reality or at least, plausibility. Underlying the analysis of society-text interaction are two assumptions: (1) the tales regarded by a community as true must at least overtly support the dominant values of that community, and (2) recurring legends point out central concerns of that community. Drawing from Chinese zhiguai (XXXl) collected in the third to sixth centuries and from Sagen compilations made by nineteenth century German folklorists, I argue for the similar function of these texts in the cultural contexts that produced them. There is no question of mutual influence between these two disparate cultural and historical settings. Instead I argue that, cross-culturally, legends featuring female demons and women with supernatural powers indicate conflict around women's roles in family and society. Furthermore, in a given cultural context, the particular characteristics of the supernatural woman in legend provide a mirror for the specific hardships faced and the compensating strategies exercised by women in that cultural system.

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Ge, Yujie. "We undergo, we experience and we write :: an analysis of contemporary Chinese women writers and their writings/." 2002. https://scholarworks.umass.edu/theses/1261.

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"Body politics and female subjectivity in modern English and Chinese fiction." 2000. http://library.cuhk.edu.hk/record=b6073305.

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Lo Man-wa.
"December 2000."
Thesis (Ph.D.)--Chinese University of Hong Kong, 2000.
Includes bibliographical references (p. 207-253).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in English and Chinese.

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Liu, Xiaohua. "Bai Juyi's poems about women/." 2009. https://scholarworks.umass.edu/theses/1726.

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"北朝書寫者對母、妻形象的塑造." 2013. http://library.cuhk.edu.hk/record=b5884244.

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楊青.
"2013年8月".
"2013 nian 8 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 172-182).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Yang Qing.

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47

"The murderous woman: madness in four modern western and Chinese stories by woman." 2000. http://library.cuhk.edu.hk/record=b5895792.

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by Lui Sha-Lee.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2000.
Includes bibliographical references (leaves 143-149).
Abstracts in English and Chinese.
Acknowledgements --- p.vi
Chapter Chapter One --- Introduction --- p.1
Chapter Chapter Two --- Ideological Implications of “Madness´ح in Western and Chinese Culture --- p.12
Chapter Chapter Three --- Madwoman as the Murderous Daughter: Kitty Fitzgerald's Marge and Tie Ning's The Cliff in the Afternoon --- p.36
Chapter Chapter Four --- "Madwoman as the Murderous Wife: Elsa Lewin's I, Anna and Li Ang's The Butcher ´ةs Wife" --- p.83
Chapter Chapter Five --- Conclusion --- p.121
Notes --- p.134
Works Cited --- p.143

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"Art, new culture, and women: the reception of the pre-raphaelites in China." Chinese University of Hong Kong, 1995. http://library.cuhk.edu.hk/record=b5888331.

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by Linda Pui-ling Wong.
Thesis (Ph.D.)--Chinese University of Hong Kong, 1995.
Includes bibliographical references (leaves 277-299).
Acknowledgements --- p.i
Abstract --- p.iii
Abbreviations --- p.v
Chapter Chapter One --- Chinese Modernity Reconsidered --- p.1
Chapter Chapter Two --- The Presence of the Pre-Raphaelites in China --- p.21
Chapter Chapter Three --- The Cross-cultural Counterparts: The Pre-Raphaelite Brotherhood and the Crescent Moon Society in China --- p.44
Chapter Chapter Four --- "New Images of Lovers: Chinese Adaptations of Dante Rossetti's ""The Blessed Damozel""" --- p.66
Chapter Chapter Five --- The Lyrical and Melancholic Women: The Reconstruction of Christina Rossetti --- p.132
Chapter Chapter Six --- Utopian Thinking in May Fourth China: The Rise of William Morris --- p.152
Chapter Chapter Seven --- A Patriotic Model for Modern China: The Early W.B. Yeats as a New Romantic --- p.172
Chapter Chapter Eight --- "The Chinese ""Decadents"": Indebtedness to Algernon Swinburne, Aubrey Beardsley and Oscar Wilde" --- p.193
Chapter Chapter Nine --- "The ""Fleshly School of Poetry""in China?" --- p.244
rllustrations --- p.272
Glossary --- p.274
Bibliography --- p.277

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"Angry Men, Angry Women: Patience, Righteousness, and the Body in Late Imperial Chinese Literature." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.62757.

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abstract: So far, love and desire have preoccupied scholarly inquiries into the emotional landscape in late imperial China. However, the disproportional focus diminishes the complexity and interdisciplinarity of the emotional experiences during this period. Alternatively, this dissertation seeks to contextualize the understudied emotion of anger and uses it as a different entry point into the emotional vista of late imperial China. It explores the stimuli that give rise to anger in late imperial Chinese fiction and drama, as well as the ways in which these literary works configure the regulation of that emotion. This dissertation examines a wide range of primary materials, such as deliverance plays, historical romance, domestic novels, and so forth. It situates these literary texts in reference to Quanzhen Daoist teachings, orthodox Confucian thought, and medical discourse, which prescribe the rootedness of anger in religious trials, ritual improprieties, moral dubiousness, and corporeal responses. Simultaneously, this dissertation reveals how fiction and drama contest the presumed righteousness of anger and complicate the parameters construed by the above-mentioned texts through editorial intervention, paratextual negotiation, and cross-genre adaptation. It further teases out the gendering of anger, particularly within the discourse on the four obsessions of drunkenness, lust, avarice, and qi. The emotion’s gendered dimension bears upon the approaches that literary imagination adopts to regulate anger, including patience, violence, and silence. The body of either the angry person or the target of his or her fury stands out as the paramount site upon which the diverse ways of coping with the emotion impinge. Ultimately, this dissertation enriches the current understanding of the emotional experiences in late imperial China and demonstrates anger as a prominent nodal point upon which various strands of discourse converge.
Dissertation/Thesis
Doctoral Dissertation East Asian Languages and Civilizations 2020

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"性別迷離: 中國古典戲劇的女強人." 2001. http://library.cuhk.edu.hk/record=b5895909.

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張結鳳.
"2001年6月"
論文 (哲學碩士)--香港中文大學, 2001.
參考文獻 (leaves 99-108)
附中英文摘要.
"2001 nian 6 yue"
Zhang Jiefeng.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001.
Can kao wen xian (leaves 99-108)
Fu Zhong Ying wen zhai yao.
Chapter (一） --- 導論
「花木蘭現象」
中國文人對女性的「女媧情結」
明代社會思潮與戲劇特色
論述之一：男性的出路限制
論述之二：女性較重視自由戀愛
Chapter (二） --- 一往情深超越生死
《杜丹亭》等才子佳人劇
最理想的佳人典型杜麗娘
《紫釵記》的強弱對比
《繡襦記》歌頌自我犧牲的女德
《玉簪記》的思凡女道士
才子不負心結局大團圓
男情陷低谷女愛越高峰
Chapter (三） --- 坐待名花艷福無邊
仙凡配與擁雙艷諸作
仙凡有別人鬼殊途
仙女蛇妖同屬「他者」
《琵琶記》宣揚教化女德
重婚後再迎元配的一夫二妻格套
「不嫉妒」成為婦德至高標準
Chapter (四） --- 家國興亡女兒之責
《雌木蘭》與《浣紗記》的典型
「花木蘭模式」的「陰陽同體」
「願天速變作男兒」：易裝者眾
西施若解傾吳國，越國亡來又是誰
「女媧」與「女禍」
報國仇家恨有賴女荊軻
Chapter (五） --- 戲劇常新´Ø現代啟示
古典情結的現代演繹
出得廳堂入得廚房
附錄：孟麗君與《再生緣》
戲劇文本參考版本
參考書目

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