Relevant bibliographies by topics / Chinese Women authors

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Chinese Women authors'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Chinese Women authors"

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Susanto, Dwi. "Pandangan Pengarang terhadap Perempuan dalam Cerpen Tahun 1950-1960-an Karya Pengarang Peranakan Tionghoa-Indonesia." Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 5, no. 4 (November 1, 2022): 883–96. http://dx.doi.org/10.30872/diglosia.v5i4.526.

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This paper looks at the views or constructions of Chinese peranakan authors towards women in that era. Issues discussed: (1) how Peranakan authors narrate women in their works; (2) the reasons for the Chinese Peranakan authors in the 1950s-1960s to narrate women. This study uses the point of view of feminist literary criticism. The object of this research is the 1950-1960s short stories and the author's perspective on women. The data of this research is the narrative of short stories that describe the image of women, the author's social construction, and the idea of ​​androcentrism. The data interpretation technique follows the way of feminist literary criticism. The results of the study: (1) women are presented and controlled by men and are controlled by social construction; (2) the idea of ​​morality and the economic context becomes a construction that the author interprets through androcentrism; (3) morality is misinterpreted by male authors and women as victims who are silenced in the name of morality. It has resulted in women being unable to speak up and follow androcentrism in the name of tradition and the sacred concept of morality. Morality is misinterpreted as sexuality and borne by women.
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Aliev, K., and M. Tologonova. "A WOMAN IN THE TRADITIONAL CULTURE OF CHINA." Vestnik Bishkek state university af. K. Karasaev 2, no. 61 (November 28, 2022): 42–45. http://dx.doi.org/10.35254/bhu/2022.61.42.

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In the article, the authors analyzed the place and role of women in ancient Chinese culture. The article deals with the issues of the position of women in the ancient Chinese sources «Women’s Quaternary», «Conversations and Reasonings for Women» and «Instructions for Women» by Nu Tse. Also, the authors of the most important sources of knowledge for women Liu Shi, Su Ruo-hsin, Xu and Ban Zhao are considered. Special attention is paid to the position of a girl before marriage, a Chinese woman as a wife, the status of a woman as a mother, the status of a woman after marriage, the status of a concubine in the emperor’s palace and in rich houses; their role and place in the institution of family and marriage and in society as a whole. The Analects of Confucius occupy an important place in the traditional education of Chinese women. From content to form, it was strongly influenced by Buddhism, and has a strong Buddhist connotation. As a result, it not only contributed to the expansion and practicality of the thought of women’s education, but also made women’s education in Confucian women’s morality widely popularized in the middle and lower classes of Chinese society during the Tang Dynasty and later.
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Zhang, Jie, Dwight A. Hennessy, Jing Luo, Yaping Song, Kailin Ren, Qian Zhang, Zhifang Han, and Ping Yao. "Are Women in China Sexist toward Other Women? a Study of Chinese College Students." Psychological Reports 105, no. 1 (August 2009): 267–74. http://dx.doi.org/10.2466/pr0.105.1.267-274.

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This study assessed the extent to which social sexism affects Chinese women's perception and evaluation of other women's performance. A sample of 100 college women was selected in a top university in Beijing, China, and was asked to read six scholastic essays and then evaluate the quality of the essays and competence of the authors. Male and female names were randomly assigned as authors of the essays, and the respondents were blind to the arrangement. Results showed that the essays assumed to be written by male authors did not receive higher scores than those assumed to be written by female authors on quality or competence items. Sexism is not marked among these highly educated young women.
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Blanchard, Lara C. W. "Virtue and Women's Authorship in Chinese Art History: A Study of Yutai huashi (History of Painting from Jade Terrace)." Journal of Chinese Literature and Culture 10, no. 1 (April 1, 2023): 221–43. http://dx.doi.org/10.1215/23290048-10362457.

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Abstract Yutai huashi (History of Painting from Jade Terrace), published in 1837, is rare among Chinese art-historical texts, not only for its focus on women painters of the imperial period but also for its female authorship. While the text preserves information on women who painted, its acknowledged author, Tang Shuyu, draws connections between women authors (defined broadly here to include both artists and writers) and virtuous women. First, her organization of the text's first five chapters foregrounds the social identities of women painters—a system that hints at their virtue. Second, biographies of women painters who are filial, chaste, and/or faithful appear throughout, but these qualities are emphasized in the “Separate Record” at the book's end, the only section with significant amounts of new writing. Third, the text positions Tang Shuyu as a woman of virtue herself. Tang compiled materials for her book with contributions from her husband, Wang Yuansun, and she establishes herself as a figure deferential to authority, a woman who begins most passages with a source citation and never develops a clear editorial voice. Scholars of the history of Chinese art increasingly use gender as a category of analysis to understand the accomplishments of women artists and patrons as well as representations of female figures. This article analyzes Yutai huashi's gendered subjects and discussions of gender roles as a means of examining both the contributions of women authors and the priorities of Chinese art-historical writers.
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Wong-Kim, Evaon, and Caroline C. Wang. "Breast Self-Examination Among Chinese Immigrant Women." Health Education & Behavior 33, no. 5 (May 31, 2006): 580–90. http://dx.doi.org/10.1177/1090198106290800.

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The incidence of breast cancer is rising rapidly among the fast-growing demographic group of Asian American and Pacific Islanders (AAPIs). In this study, the authors assessed the awareness of breast self-exam (BSE) and factors predicting practice of BSE among Chinese immigrant women living in San Francisco. Three hundred and ninety-seven women participated in a telephone survey; 80.9% reported having heard of BSE but only 53.9% reported practice of BSE during the past year. Logistic regression modeling found that increased length of stay in the United States, higher income, socializing with more Chinese than non-Chinese, and a birthplace other than U.S. and Chinese communities predicted BSE practice. The findings indicate that although familiarity with BSE is high among this group of Chinese immigrant women, self-reported actual practice is far from optimal. This study points to the need for culturally appropriate interventions that will encourage and motivate immigrant Chinese women to practice BSE on a monthly basis.
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Lalinec-Michaud, M. "Three Cases of Suicide in Chinese-Canadian Women." Canadian Journal of Psychiatry 33, no. 2 (March 1988): 153–56. http://dx.doi.org/10.1177/070674378803300215.

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This article purports to draw attention to the particular phenomenology of depression and suicide in Chinese. Three case histories are presented. The patients were all women in their forties, first-generation immigrants having resided for more than 20 years in Canada. These cases illustrate the significance of certain cultural factors in the understanding of depression in Chinese patients, namely: the importance of somatization, the familial reaction of denial or rejection to mental illness, the rigidity of the traditional family structure. The authors discuss the role played by conflicts of culture in the greater vulnerability to depression in Chinese middle-aged women.
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Jakubów-Rosłan, Zofia. "Di An and Yan Ge: Chinese 80 Hou Women Authors on the Family." Roczniki Humanistyczne 71, no. 9 (October 24, 2023): 5–16. http://dx.doi.org/10.18290/rh23719.1.

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Depictions of the family in 20th- and 21st-century Chinese literature have reflected the social and cultural discourses dominant in the country, especially Chinese intellectuals’ changing attitudes to tradition and modernisation. The last decades have seen China’s rise to economic prominence, accompanied by the increased influence of the neoliberal ideology, which has been met with a neoconservative response. A new model of the family has thus emerged. It has been imagined as a shelter from the unsettling realities of life under the conditions of the market economy, a private, consuming community managed by women. This paper focuses on the ways of describing the family in the novels by two well-known women writers of the 80 hou generation (authors born in the 1980s): Di An and Yan Ge. The image of the family in their prose has been compared to the private and neoconservative models and to the depictions of the family in the new historical novel.
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Yongju, Fu, and Zhu Yufu. "Image of the Great Mother Yan Zhengzai in the Chinese Culture and Literature." Tyumen State University Herald. Humanities Research. Humanitates 5, no. 3 (October 30, 2019): 117–32. http://dx.doi.org/10.21684/2411-197x-2019-5-3-117-132.

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This article aims to present Confucius’ mother, Yan Zhengzai, in the Chinese ancient literature and history, remembering her feats of home education and praising her wisdom as the first representative of wise women in the Chinese traditional culture. China has never had a Mother’s Day, because there is no consensus on the typical representative of a Chinese mother. Confucius (28 September 551 B.C. — 11 April 479 B.C.) is one of the representatives of Chinese culture, his doctrine — Confucianism — is the foundation and spiritual mentality of the Chinese nation. Yang Zhengzai was both Confucius’s mother and first teacher. With her unique and new vision, concept, content, and teaching method, she brought up Confucius as the “Wise Teacher of Antiquity”, a great thinker, and educator of the traditional society of ancient China. She left the precious wisdom for Chinese matriarchal culture behind, making this great woman a worthy Chinese Holy Mother. This paper details the hard mental journey of the great mother and her teaching principles for the dignified development of the great son, as well as presenting other Chinese great mothers. The authors note that Yan Zhengzai is the most successful female model of family education in China and the world. Therefore, the authors propose to establish a Mother’s Day in China honoring Yang Zhengzai.
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Huang, Xiuguo. "A Comparative Study of Womanland in "Journey to the West" and "Flowers in the Mirror"." Interlitteraria 26, no. 2 (December 31, 2021): 390–402. http://dx.doi.org/10.12697/il.2021.26.2.5.

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Abstract: Journey to the West (Xiyou Ji西游记) and Flowers in the Mirror (Jinghua Yuan镜花缘) are two of the best-known stories of travel in ancient Chinese literature. Both works contain descriptions of outlandish sights and foreign customs, particularly the vivid descriptions of the fantastic and outlandish Womanland (Nv’er Guo 女儿国), which embodies traditional Chinese scholars’ understanding of the outside world. Comparativists tend to regard the portrayals of these exotic women and their talents, and the subverted roles of men and women, as the authors’ statements about the inferior status of women in feudal China and their denunciations of the oppression of women. Flowers in the Mirror is seen as more radical in its pursuit of women’s rights and gender equality. This article argues that androcentrism still prevails even in the positive depictions of the expression of women’s desires. Furthermore, the delineation of these exotic women and of supernatural spirits demonstrates the authors’ praise of China’s pre-eminence and its condescending views of foreign places.
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Zakharova, Natalya Vladimirovna. "Female ethnotype in the lyrical songs of ‘Shijing’ (11th-6th centuries BC) and in the narrative prose of medieval China." Philology. Issues of Theory and Practice 17, no. 2 (February 14, 2024): 407–11. http://dx.doi.org/10.30853/phil20240056.

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The aim of the study is to show that the prose works by the Tang dynasty writers reflected the new ethnotype of Chinese women, formed in the minds of the Chinese during this period. The study is original in that it is the first in Russian sinology to carry out a comparative analysis of female images in ancient and medieval Chinese literature. In the songs of the ancient Chinese poetic collection ‘Shijing’, the portrait included not only descriptions of women, but also a list of moral qualities and less often the behavior of the heroines, but did not touch upon their character traits. The authors of short stories of the Tang dynasty refuse to describe heroines’ appearance and expand the circle of female characters, adding celestials and foxes who take the form of a woman. The results have shown that in medieval literature, the description of a heroine’s appearance played an insignificant role and most often amounted to using the epithet ‘beauty’ without paying attention to the details adopted in archaic literature. The problem of the relationship between the descriptions of details in heroines’ portraits and their character traits and behavior is discussed. As a result, it has been proved that in the prose works under study, priority is given to the moral qualities of female characters, which indicates the influence of Confucian ideology on the authors during the period under consideration.
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Dissertations / Theses on the topic "Chinese Women authors"

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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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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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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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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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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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Kweon, Young. "The textual and imaginary world of Ho Kyongbon (1563-1589)." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19659.

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This thesis is a study of the Korean woman poet Ho Kyongbon (1563-1589) and her poetry. In it, I investigate Ho's two brothers' active involvement in her literary life, particularly her younger brother Ho Kyun's publication of her poetry collection, the Nansorhon chip and promotion of her literary works to Chinese scholars. I also examine late Ming and Qing anthologies which include Ho's poetry to disclose how late Ming and Qing scholars evaluated her poetry and represented her life. I argue that the attention these critics paid to Ho's literary works and talent reflected a blossoming of women's literary culture and a rapid growth in the anthologizing of women's poetry. I also undertake an analysis of Ho's poetry, with particular emphasis on the influence of Tang poetry on her poetic practice. This analysis is accompanied by a discussion of Ho's relationship to the "Tang revival movement" in which her two brothers were fervently engaged. This relationship provides a context through which to better understand not only Ho's particular interest in emulating Tang poetry, but also the very textual qualities of her poetry.
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Yu, Yuen-yee Frankie, and 余婉兒. "Living on the margin." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015168.

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Liu, Xi, and 刘希. "Gender discourses and female subjectivities in 1949-1966 Chinesewomen's writings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50899648.

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This study provides a critical inquiry into the textual (self-)representations of Chinese females’ perception and experience of “women’s liberation” in 1949-1966 Chinese women’s autobiographical and fictional writings. Through historical and textual analyses, it looks into Chinese women’s multiple textual/discursive practices and their subjectivities constituted in the process. These narrative practices are treated as salient sites of women’s struggle for self-understanding, self-liberating as well as self-inventing in their own specific social and cultural conditions. The study aims to disclose the complexity of the discursive field centering on the topic of socialist women’s liberation and the dynamic interplay between different female authors and the socialist political/gender discourses within 1949-1966 socialist cultural public sphere. The thesis first examines the autobiographical, first-person female narratives appeared on three Fulian(Women’s Federation)–sponsored national and local women’s magazines: Women of China (中国妇女), Beijing Women (北京妇女), and Modern Women (现代妇女). It probes into how female narrators, from different social backgrounds, understand and restructure in their writings their past and present lives in terms of (public) labor, female freedom and new social identification. Secondly, the thesis investigates fictions and plays by female writers, which provide historically-specific gendered perspectives to the issue of “women’s liberation” as well as women’s position in and their relationship with socialism. It explores women’s perception of public and domestic labor, their formation of collective identities in the process of socialist construction, their gender struggle with and contestation to the persistent ideology of patriarchy in the new social order, all of which are revealed in their literary practices. This thesis argues that in these different sorts of writings, the representations of experience of “women’s liberation” are intimately related, but not identical, to the state-sanctioned conceptual and discursive framework. Socialist political and gender discourses actually exert unpredictable, diffuse, locally and individually contingent effects on Chinese women who actively engage in different forms of writing. The self-perception and self-fashioning represented in these women’s cultural practices are enabled by, but may also go beyond, the revolutionary language or state-inflected discourses, indicating more complicated and specific meanings of Chinese socialist ideologies and practices for individual women. Different writers choose or abandon, appropriate or dis-employ, embrace or interrogate, be close to or keep at a distance certain socialist political and gender discourses, in order to forge and interpret women’s experience from their own specific contexts. They may be empowered by the revolutionary discourses and rhetoric, yet they do not identify themselves as mere passive beneficiaries of the socialist regime, but as active agents in their self-liberation and self-transformation. It is in this process that their different subjectivities are constituted, their agency created and asserted.
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Comparative Literature
Doctoral
Doctor of Philosophy
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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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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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Books on the topic "Chinese Women authors"

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Mei, Jennifer. Marriage in China today: Stories by Chinese women authors. Lewiston, New York: Edwin Mellen Press, 2020.

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C, Kao Hsin-sheng, ed. Nativism overseas: Contemporary Chinese women writers. Albany, N.Y: State University of New York Press, 1993.

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Mann, Susan. The talented women of the Zhang family. Berkeley, CA: University of California Press, 2007.

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Idema, W. L. De onthoofde feministe: Leven en werk van schrijvende vrouwen in het Chinese keizerrijk van de vroege tweede eeuw v.Chr. tot de eerste jaren van de twintigste eeuw. Amsterdam: Atlas, 1999.

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Fang, Fang. Contemporary Chinese women writers, V: Three novellas. Beijing, China: Chinese Literature Press, 1996.

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C, Lin Julia, ed. Women of the Red Plain: Anthology of contemporary Chinese women poets. London: Penguin, 1992.

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He, Yubo. Zhongguo xian dai nü zuo jia. [Beijing: Beijing zhong xian tuo fang ke ji fa zhan you xian gong si, 2012.

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Huzhou Shi wen xue yi shu jie lian he hui. "80 hou" Huzhou nü zuo jia zhuan ji: The collection of Huzhou female writers born in 1980s. [Huzhou]: Huzhou Shi wen lian, Nan Tai Hu za zhi she, 2008.

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author, Chen Jie, ed. Ji yu xing bie shi jiao xia de nü xing xing xiang yu wen xue yan jiu. Changchun: Jilin da xue chu ban she, 2020.

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Yiqing, Li, ed. Ba Shu li dai ming yuan zhu zuo kao yao. Chengdu: Ba Shu shu she, 1997.

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Book chapters on the topic "Chinese Women authors"

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McGregor, Katharine. "Japanese War Memory and Transnational Activism for Indonesian Survivors of Enforced Military Prostitution During World War Two." In Trajectories of Memory, 117–36. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-1995-6_7.

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AbstractIn this chapter, I analyse activism relating to survivors of the so-called comfort women system, enforced military prostitution, during World War Two. The term ‘comfort women’ is highly problematic and considered offensive by many survivors, yet it continues to be the most commonly used term to describe survivors. The most well-known example of national-based activism from affected countries is the activism of the Korean Council. The second most active national group is probably ASCENT from the Philippines (Medoza, 2003). In recognition, however, of the transnational nature of activism on this issue, scholars have studied cooperation between Japanese and Korean activists and between Japanese and Chinese activists, and the role of the Korean diaspora in activism in the United States and Australia. In these studies, the authors have variously reflected on the bases of these transnational partnerships and the different positions of activists within them in relation to their national affiliations and new potential alliances that transcend the nation.
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Gianninoto, Mariarosaria. "Women and language in imperial China." In Women in the History of Linguistics, 427–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198754954.003.0017.

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China has an ancient and impressive tradition of philological studies, most notably in the fields connected with the needs of the imperial examination system. The authors as well as the intended readers of this outstanding production of linguistic works were essentially men. Women did not participate to the imperial examinations and were almost completely absent from the landscape of Chinese philology. Nevertheless, Chinese history shows examples of erudite women and their linguistic education should be taken into account. Several textbooks were explicitly conceived for women’s education, and were often written by women. Moreover, women played an important role in the transmission of literacy in the familial context. This chapter investigates the reasons for the almost complete absence of women in Chinese philology, and describes the main examples of women’s contribution to the history of Chinese linguistic studies.
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Yang, Ling, and Yanrui Xu. "Chinese Danmei Fandom and Cultural Globalization from Below." In Boys' Love, Cosplay, and Androgynous Idols. Hong Kong University Press, 2017. http://dx.doi.org/10.5790/hongkong/9789888390809.003.0002.

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By tracing the trajectory of Chinese danmei fandom in the past two decades, this chapter explores the possibility of danmei as a model of grassroots globalization. The chapter focuses on three key aspects of Chinese danmei fandom: the establishment of online and offline infrastructures, the formation of different danmei circles, and the emergence of a women-dominated online public sphere. The authors seek to use the example of danmei fandom to challenge the masculinized, top-down model of thinking about transnational cultural flows that overemphasizes national origin, the industrial player, the official economy, and the competition for soft power at the expense of other glocalized, noninstitutionalized, nonprofit, noncompetitive ways of cultural exchange.
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Cheung, King-Kok. "The Woman Warrior versus the Chinaman Pacific,Must a Chinese American Critic Choose between Feminism and Heroism?" In Maxine Hong Kingston’s The Woman Warrior, 113–33. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195116540.003.0007.

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Abstract The Title O F The anthology notwithstanding, I will primarily be speaking not about topics that divide feminists but about conflicting politics of gender, as reflected in the literary arena, between Chinese American women and men.1 There are several reasons for my choice. First, I share the frustrations of many women of color that while we wish to engage in a dialogue with “mainstream” scholars, most of our potential readers are still unfamiliar with the historical and cultural contexts of various “minorities.” Furthermore, whenever I encounter words such as “conflicts,” “common differences,” or “divisive issues” in feminist studies, the authors more often than not are addressing the divergences either between French and Anglo-American theorists or, more recently, between white and nonwhite women. Both tendencies have the effect of recentering white feminism.
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Seng, Guo-Quan. "Love, Desire, and Race." In Strangers in the Family, 119–42. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501772504.003.0007.

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This chapter addresses how Chinese male writers internalized and popularized the new discourse of love and love marriage. Toggling between the social and the fictional, the chapter traces the formation of a desiring Chinese moral subject to three moments in the late colonial period. First, in a “racializing” moment of birth (1903–17), writers experimented with the Western binary approach to sexual love in a series of lust caution stories. Safely pursued outside the context of Confucian marriage, the stories centered on Chinese men's attraction to native women, at the same time as they turned native concubinage into a moral problem. Second, in a “spiritual” turn, authors appropriated the Christian concept of redemptive love in the 1910s by secularizing their translations and adaptations of Alexandre Dumas fils's Camille with a modern Confucian spiritual twist. Third, in a “bourgeois cultural” moment of closure, “love” and love marriages became the ideal not only for the super-wealthy Chinese but also for the rising middle classes between the 1910s and 1930s. This closure normalized for the male bourgeois imagination Western romantic practices while retaining women's “purity” at the core of what defined Chineseness.
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Heathcote, Gina. "Authority." In Feminist Dialogues on International Law, 173–200. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199685103.003.0006.

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Chapter 6 examines what authority is given to specific feminist actors to speak and what authority is imagined lying within the domain of legal acts. A study of the convergence of the women, peace, and security agenda and the counterterrorism agenda is offered in this chapter, as is a study of alternative sites of feminist engagement with law, from the use of protest in Uganda to the manipulation of digital spaces by Chinese feminist activists. Connecting to the larger theme of the book as a feminist dialogue, the chapter evolves into a study of how different discourses converge to give the author voice and authority, questioning whose silences that authority depends upon. The chapter draws upon Black British feminists and indigenous Australian authors to question white, Western feminist’s complicity in the production of privilege and to explore the steps that are necessary to commence feminist dialogues on international law.
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Fan, Victor. "Breaking the Wave." In Extraterritoriality, 70–110. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440424.003.0003.

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This chapter asks the question: Can women filmmakers, cinematic spectators, and televisual viewers speak from their doubly––sociopolitically and gendered––extraterritorialised position? It -historicises the theoretical discourse and film practice of the first phase (1968–78) of the Hong Kong New Wave from the perspectives of women filmmakers and critics. It also discusses three different ways by which women speak through the cinema and television as authors, all aiming to establish what Pier Paolo Pasolini (1922–75) would call a free indirect discourse. For independent filmmaker Tang Shu-hsuen, through unlearning Euro-American aesthetics and relearning medieval Chinese one from the perspective of modern women, a cinema specific to the extraterritorial position of a Hong Kong female spectator can be fostered. For screenwriter Joyce Chan and her collaborator director Patrick Tam, a free indirect discourse can only be achieved when the addresser-message-addressee mode of communication in commercial television is actively challenged. Finally, for director Ann Hui and screenwriter Shu Kei and Wong Chi, the classical Hollywood paradigm can be reconfigured to enable desubjectivised and abjectivised gay male characters to negotiate their traumas and desires in terms that are understandable by heterosexual and heteronormative viewers.
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Ruiwen, Chen. "The Social Contributions of a Chinese Anglican Woman Intellectual." In Christian Women in Chinese Society, 201–22. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455928.003.0010.

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The author’s great-grandmother, Zhan Aimei, was born into a peasant family in rural Fujian and educated by British missionaries, becoming a Christian teacher, wife and mother. The trajectory of her life provides rare insight into the fruits of Anglican missionary work from a Chinese perspective. Zhan Aimei married a missionary-trained doctor, Lin Dao’an, and had ten children, the oldest of whom, Lin Buji, studied in the United States and became dean of Christ Church Cathedral and president of Trinity College Fuzhou. The author uses documents, interviews and missionary accounts to recreate the extraordinary life of an ordinary woman.
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Yun, Zhou. "The Making of Bible Women in the Fujian Zenana Mission from the 1880s to the 1950s." In Christian Women in Chinese Society, 59–82. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455928.003.0004.

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This chapter explores women missionaries from the Church of England Zenana Mission Society and their Bible women in Fujian. It focuses on the intercultural exchange between these two groups of women from entirely different backgrounds from the 1880s to the 1950s, with an aim to address Chinese experience from a transnational perspective. It shows that Bible women were central figures in a process of proselytizing local women and were formed mainly through a series of intercultural communications with their Western mission workers. The author argues that Bible women were the combined historic product of a particular Chinese historical and cultural context and a worldwide evangelical workforce by Western women, developed through transnational interactions and nurtured in a relationship of sisterhood and friendship.
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Tham, Sarah. "Unexpected Journey Into Academia." In Teacher Reflections on Transitioning From K-12 to Higher Education Classrooms, 348–67. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-3460-4.ch025.

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There is much to be gained from narratives and stories. This author's perspective on transitioning from K-12 classrooms to higher education classrooms is one of many stories out there. The author acknowledges the experiences of others making the transition. The author wants to inform, educate, quicken, and inspire others in the unexpected journey into academia. There is much hope that the author's story will provide a collective body of knowledge, reflections, and experiences to aid others in similar trajectories. This story is of a Christian woman of Chinese descent in academia. It offers a human side of academia, extrapolating the struggles and joy of making that transition.
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Conference papers on the topic "Chinese Women authors"

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Sinha Roy, Swagata, and Kavitha Subaramaniam. "READING TOURS INTO MALAYSIAN NARRATIVES: LOCALES IN THE GARDEN OF EVENING MISTS AND THE NIGHT TIGER." In GLOBAL TOURISM CONFERENCE 2021. PENERBIT UMT, 2021. http://dx.doi.org/10.46754/gtc.2021.11.051.

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If one has not read local English novels like The Garden of Evening Mists and The Night Tiger, one would never be able to imagine the wonders of locales depicted in these two books. One of the reasons the authors here want to visit a said destination is because of the way a certain place is pictured in narratives. Tan Twan Eng brings to life the beauty of Japanese gardens in Cameron Highlands, in the backdrop of postWorld War II while Yangsze Choo takes us into several small towns of Kinta Valley in the state of Perak in her beautifully woven tale of the superstitions and beliefs of the local people in Chinese folklore and myth in war torn Malaysia in the 1930s and after. Many of the places mentioned in these two novels should be considered places to visit by tourists local and international. Although these Malaysian novelists live away from Malaysia, they are clearly ambassadors of the Malaysian cultural and regional heritage. In this paper, a few of the places in the novel will be looked at as potential spots for the coming decade. The research questions considered here are i) what can be done to make written narratives the new trend to pave the way for Visit Malaysia destinations? ii) how could these narratives be promoted as guides to the history and culture of Malaysia? The significant destinations and the relevant cultural history of the regions will be discussed in-depth to come to a relevant conclusion.
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