Academic literature on the topic 'Chinese Women poets'
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Journal articles on the topic "Chinese Women poets"
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Malakhevich, Daria E. "Feminine Imagery in Chinese Lyrics of the Six Dynasties." RUDN Journal of Studies in Literature and Journalism 27, no. 1 (April 1, 2022): 86–93. http://dx.doi.org/10.22363/2312-9220-2022-27-1-86-93.
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This article deals with the specifics of female imagery in Chinese poetry of the Six Dynasties period ( Liuchao ). The aim is to characterize female imagery in the works of the poets of this period and find out what changes these images underwent in comparison with previous epochs, and how the structure of these images differs in female and male poetry. The aim is to analyze the women topic in the works of the leading poets of the Six Dynasties period. The conclusion is made that in mens poetry of the mentioned period the female image remains idealized, unified and narcissistic. Male poets used a standard set of artistic means to portray female images. The woman was presented as an object of aesthetic pleasure, and appeared to the reader in an inseparable connection with her surroundings and boudoir objects. In this regard, the thesis of the emergence of the image of a beautiful lady in Luchao poetry is put forward. Nevertheless, in both womens and mens lyrics more individualized images began to appear and a departure from traditional gender stereotypes is obvious; the main change in Six Dynasties poetry is the development of self-awareness in female and male poems, both in life and poetry, and the increasing understanding of their own subjectivity. The female characters of the Luchao era turn out to be endowed with reflexivity and psychologism. Lyrics on womens themes developed both quantitatively and qualitatively.
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이설화. "The Literary Status of Women Poets and Their Literary Field of Chinese Poems." 한국문예비평연구 ll, no. 38 (August 2012): 357–75. http://dx.doi.org/10.35832/kmlc..38.201208.357.
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Wang, Erya. "A Comparative Study of Female Imagery in the Poetry of Emily Dickinson and Zhai Yongming." Communications in Humanities Research 3, no. 1 (May 17, 2023): 1093–98. http://dx.doi.org/10.54254/2753-7064/3/2022866.
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Zhai Yongming and Emily Dickinson are two modern poets who are particularly concerned with women's issues. Both poets use a female perspective to look at themselves and the human world as a whole, even if in distinct ways. Previous academics have concentrated on the feminine imagery employed by Zhai Yongming and the feminine issues generated from Dickinson's natural imagery separately. This dissertation will investigate how Zhai Yongmings, and Emily Dickinson's poetry reject or criticize patriarchal-centered culture through female imagery that associates with sexuality and animality, and explore how feminine consciousness traverses geography, time, and nation. This comparative study indicates that for Zhai Yongming, women have recognized their own particularity and are seeking to break free of their confines but suffer from problems. For Dickinson, women have been so undervalued and subjugated by society that their voices of opposition are weak. This study establishes the framework for future research on women's poetry, proposing suggestions for comparing Chinese and Western poets, and hoping that scholars might use the imagery of both poets to re-examine the challenges women confront in society today.
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Mann, Susan. "Presidential Address: Myths of Asian Womanhood." Journal of Asian Studies 59, no. 4 (November 2000): 835–62. http://dx.doi.org/10.2307/2659214.
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Salman rushdie calls mythology “the family album or storehouse of a culture's childhood, containing [its] … future, codified as tales that are both poems and oracles” (1999, 83). Myths are, in his words, “the waking dreams our societies permit” that celebrate “the non-belongers, the different ones, the outlaws, the freaks” (73). Of course, all societies have such waking dreams, but women as mythic figures loom rather larger in some cultures than in others. Chinese poets, painters, sculptors, librettists, essayists, commentators, philosophers, storytellers, puppeteers, illustrators, and historians made a veritable industry of myths of womanhood—an industry that, I shall argue today, far outstrips any of its counterparts elsewhere in Asia.
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ZHANG, JEANNE HONG. "Gender in post-Mao China." European Review 11, no. 2 (May 2003): 209–24. http://dx.doi.org/10.1017/s1062798703000218.
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Post-Mao gender discourse readjusts a politicized vision of gender based on Maoist ethics. While rejecting revolutionary concepts of sex equality, contemporary Chinese women embrace a notion of femininity through the revision of a traditional conception of womanhood as well as the construction of new role models. Women poets participate in this construction process with a fresh, powerful voice to express their gender consciousness. In their efforts to (re-)define womanhood, they present by poetic means radically gendered perspectives.
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Musayeva, E. "Issues of Physical Perfection and Physical Education of Women in the Poetry by Nizami Ganjevi." Bulletin of Science and Practice 7, no. 9 (September 15, 2021): 650–54. http://dx.doi.org/10.33619/2414-2948/70/67.
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After gaining independence, the Republic of Azerbaijan, one might say, has always honored all our writers and poets from our classical heritage. Our President Ilham Aliyev has declared this year the Year of the classic poet Nizami Ganjavi. The main goal is the desire to lead our nation forward, to protect it, to preserve the legacy left to us by our great leader, world politician Heydar Alirza oglu Aliyev. He also pointed out the importance of preserving our classical poets such as Nizami Ganjavi and passing on their works to the younger generation. Female images play a key role in the works of Nizami Ganjavi. In his works, he highlighted the place of a woman, depicting a woman as a mother, an ornament of life. In Sultan Sanjar and the Old Woman Beit from Treasury of Secrets, the first poem in the five-verse Hamsa, Nizami Ganjavi describes a woman as the leading force of society, defending her rights. In the second poem — Khosrov and Shirin, Nizami Ganjavi always wanted to see women free and made it clear that a society without women would become an orphan. In his third poem, Layli and Majnun, he described in detail the image of Layli as a selfless oriental woman, attached to her family and devoted to her love. In fact, Nizami Ganjavi foresaw the role of women in society thousands of years ago. The fourth poem Seven Beauties shows the customs and traditions of Chinese, Russian, Persian, Indian, Arab and Turkish women. The poem describes in detail the maternal care of a woman, regardless of her nationality. In his works, Nizami Ganjavi called for an end to all forms of violence against women and wanted to see women free.
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Wang, Yanning. "Qing Women's Poetry on Roaming as a Female Transcendent." NAN NÜ 12, no. 1 (2010): 65–102. http://dx.doi.org/10.1163/156852610x518200.
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AbstractYouxian shi (poetry on roaming as a transcendent) has long been a conventional poetic genre in Chinese literature. It has been the common conception that youxian poetry was most popular from the Wei dynasty (220-265) through the Tang dynasty (618-907), and up until now, scholarly studies on the genre seemed to focus exclusively on Tang and pre-Tang periods. This gives the impression that after the Tang nothing of interest was written in this particular genre. Consequently, very little scholarly attention has been given to the youxian poems composed in post-Tang periods. This article examines youxian poems by Qing (1644-1911) women, specifically those poems entitled Nü youxian (roaming as a female transcendent). With the increasing consciousness of "self," the rise of groups of women writers, and the popularity of women's culture in late imperial China, youxian poems provided a unique literary space for women's poetic and autobiographical voices, certainly deserving more scholarly attention. I argue that by presenting female transcendents or women pursuing transcendence at the center of a poem and re-inscribing the traditional literary images, the poets created a stronger female subjectivity that reflected women's desires in their intellectual and spiritual lives. I also propose that nü youxian was a new subgenre of youxian poetry, emerging only in the context of the efflorescence of women's poetry.
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Li, Xiaorong. "Woman Writing about Women: Li Shuyi's (1817-?) Project on One Hundred Beauties in Chinese History." NAN NÜ 13, no. 1 (2011): 52–110. http://dx.doi.org/10.1163/156852611x559349.
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AbstractThis article examines the woman poet Li Shuyi's (1817-?) poetry collection Shuyinglou mingshu baiyong (One hundred poems on famous women from Shying Tower). Through a reconstruction of Li Shuyi's life, a reading of her self-preface, and an analysis of her poems, this study aims to demonstrate how a woman author's perception of her own ill fate leads to her becoming a conscious writing subject, and how this self-realization motivates her to produce a gendered writing project. It argues that Li Shuyi articulates in her project her intervention into representations of women's images from her individual perspective on women's history, and her aims for immortality through writing.
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McLaren, Anne E. "Two Centuries of Manchu Women Poets: An Anthology. Translated by Wilt L. Idema. Seattle – London: University of Washington Press, 2017. xii, 316 pp. Glossary of Chinese Characters, Bibliography, Index. US$ 50 (HB). ISBN 978-0-295-99986-9." Monumenta Serica 66, no. 1 (January 2, 2018): 234–36. http://dx.doi.org/10.1080/02549948.2018.1467129.
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Setia Sari, Winda. "Stepping Out of The Cultural Identity: A Critical Analysis of Cathy Song’s Memory Poetry." International Journal of Culture and Art Studies 2, no. 1 (April 30, 2019): 54–59. http://dx.doi.org/10.32734/ijcas.v2i1.948.
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Cathy Song, a Chinese-Korean ancestry woman poet, grew up in Hawaii, America. In “What Belongs to You”, a poem taken from her second poetry publication, she chronicles the memory of a child who is trapped between her dream and devotion. The theme of the poem is portrayed in a strong poetic devices. The poems lean in vivid visual imageries to evoke to the poet’s life memory. The speaker of What Belongs to You dreams of having the freedom and attempts to escape from her parental tie. Ironically, she finds herself devote to her family and tradition. The poems use past materials ranging from domestic domain and landscape which define the speaker’s personal memory. Comparing than Cathy’s Song first poetry publication, arguably, the cultural materials in the poem cannot be traced through Song’s poetic devices as an ethnic woman poet. In fact, song locates the dream and devotion in visual imageries and nostalgic tones in a general way. This is true; Song has denied herself as a cultural visionary. Song merely mines the memory from the point of view and identity of a woman, leaving her cultural traits behind.
Dissertations / Theses on the topic "Chinese Women poets"
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Li, Xiaorong 1969. "Woman writing about women : Li Shuyi (1817-?) and her gendered project." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33300.
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This thesis examines the life and poetry collection of the woman poet Li Shuyi (1817--?) within the context of women's literary culture in late imperial China. In particular, the textuality of Li Shuyi's poetry collection Shuyinglou mingshu baiyong (One Hundred Poems from Shuying Tower on Famous Women) forms the centre of critical analysis, which aims to articulate her gendered intervention into representations of women's image in poetry. The thesis is organized into three interconnected sections: the reconstruction of Li Shuyi's life in order to provide a context to articulate her relationship to writing, a reading of Li Shuyi's self-preface to discuss her motivation to write, and critical analysis of poems according to the three thematic categories of "beauty, talent, and qing ." The thesis demonstrates how a woman author's self-perception leads to her becoming a conscious writing subject, and how this self-realization then motivates her to produce a gendered writing project.
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Park, Christopher 1966. "La modernité poétique des femmes chinoises : écriture et institution." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56656.
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Women's poetic writing in modern China, its context and position in literary history as well as its ideological and social constitution are at the root of this thesis' subject. Having stated my intellectual and personal limitations regarding its writing as an introduction, examples of contemporary women's poetic text will serve to broaden its conclusion. My analysis begins with a reflection on its own terminology in philosophical debate, followed by a study of the modernist background that from 1977 leads to what is termed as neo-modernity in literature. A paradox in the women's avant-garde of antipatriarchal antagonism against the literary institution will be illustrated by examples of critical text on women's poetic production. My point is to address this paradox with the identification of false values placed from the very beginnings of poetic modernity on women's poetry within the avant-garde.
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Huang, Qiaole 1976. "Writing from within a women's community : Gu Taiqing (1799-1877) and her poetry." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81496.
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This thesis examines the life and poetry of the woman poet Gu Taiqing (1799-1877) within the context of a community of gentry women in mid-nineteenth century Beijing. This group of women was a "community" in the sense that their contact, sociability, friendship and poetry writing were meaningfully intertwined in their lives. The thesis is divided into three interconnected chapters. Two separate biographical accounts of Gu Taiqing's life---one centered around the relationship with her husband, and the second around her relationship with her female friends---are reconstructed in the first chapter. This biographical chapter underlines the importance of situating Gu in the women's community to understand her life and poetry. The second is comprised of a reconstruction of this women's community, delineating its members and distinctive features. In the third chapter, a close-reading of Gu's poems in relation to the women's community focuses on the themes of xian (leisure), parting, and friendship. This chapter shows how each of these themes are represented by Gu and how her representations are closely related to the experiences of this women's group.
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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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Li, Xiaorong 1969. "Rewriting the inner chambers : the boudoir in Ming-Qing women's poetry." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100645.
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My dissertation takes the social and symbolic location of women---the inner chambers [guige or gui]---as a point of departure to examine Ming-Qing women's unique approach to the writing of poetry. In Ming-Qing China, women continued to be assigned to the inner, domestic sphere by Confucian social and gender norms. The inner chambers were not only a physically and socially bounded space within which women were supposed to live, but also a discursive site for the construction of femininity in both ideological and literary discourses. The term gui embraces a nexus of meanings: the material frame of the women's chambers; a defining social boundary of women's roles and place; and a conventional topos evoking feminine beauty and pathos in literary imagination. Working with the literary context of boudoir poetics, yet also considering other indispensable levels of meanings epitomized in the cultural signifier guige, my dissertation demonstrates how Ming-Qing women poets re-conceive the boudoir as a distinctive textual territory encoded with their subjective perspectives and experiences. Compared with the poetic convention, the boudoir as inscribed in Ming-Qing women's texts is far more complex as its depiction is informed by nuances in their historical, social and individual experiences.
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Tse, Wai-lok. "Female singers and the ci poems of the Tang and Song periods Ge ji yu Tang Song ci /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38322110.
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Tse, Wai-lok, and 謝煒珞. "Female singers and the ci poems of the Tang and Song periods=." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38322110.
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"明末清初女性詞選: 《眾香詞》研究." 2004. http://library.cuhk.edu.hk/record=b5896147.
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馮慧心."2004年7月".
論文(哲學碩士)--香港中文大學, 2004.
參考文獻 (leaves 495-520).
附中英文摘要.
"2004 nian 7 yue".
Feng Huixin.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (leaves 495-520).
Fu Zhong Ying wen zhai yao.
引言 --- p.1
Chapter 第一章 --- 結論 --- p.4
Chapter 第一節 --- 古代女性文學研究回顧 --- p.4
Chapter 一、 --- 女性文學史的發展 --- p.4
Chapter 二、 --- 西方漢學界的女性文學研究 --- p.8
Chapter 三、 --- 明清女性文學的研究 --- p.10
Chapter 四、 --- 女性詞作的研究 --- p.12
Chapter 第二節 --- 女性文學的資料發掘與整理 --- p.13
Chapter 第三節 --- 《眾香詞》硏究回顧 --- p.15
Chapter 第四節 --- 《眾香詞》研究的意義、理論及方法 --- p.20
Chapter 一、 --- 研究意義 --- p.20
Chapter 二、 --- 研究範關及方法 --- p.22
Chapter 三、 --- 女性主義的啟示及應用 --- p.24
Chapter 第二章 --- 《眾香詞》的編選背景:明末清初的時代背景與文學發展 --- p.34
Chapter 第一節 --- 明末以來女性解放思潮 --- p.34
Chapter 第二節 --- 出版業及郵政業的發達 --- p.38
Chapter 第三節 --- 明清女性文學的發展 --- p.42
Chapter 第四節 --- 明清女性選集的繁榮 --- p.46
Chapter 第五節 --- 明末以來的詞學發展及清詞中興 --- p.48
Chapter 第六節 --- 明清易代的離亂感慨 --- p.52
Chapter 第三章 --- 《眾香詞》述介 --- p.55
Chapter 第一節 --- 現今所見《眾香詞》版本 --- p.55
Chapter 一、 --- 清代海陽彤雲軒鈔本 --- p.55
Chapter 二、 --- 清康熙錦樹堂刊本 --- p.58
Chapter 三、 --- 癸酉(1933年)董氏誦芬室重校本 --- p.62
Chapter 四、 --- 1996年鄭競重校本 --- p.63
Chapter 第二節 --- 《眾香詞》流傳概況 --- p.65
Chapter 第三節 --- 《眾香詞》末善之處 --- p.68
Chapter 第四節 --- 《眾香詞》之編集動機 --- p.73
Chapter 一、 --- "為女性文學正名,使之經典化、正統化" --- p.73
Chapter 二、 --- 為女性詞壇寫史、以女性詞作寫史 --- p.75
Chapter 第四章 --- 《眾香詞》之編輯集團：清廷權貴與遺民幕客 --- p.80
Chapter 第一節 --- 編輯集團成員 --- p.80
Chapter 第二節 --- 徐樹敏、錢岳兩位編者的角色 --- p.83
Chapter 第三節 --- 編輯集團的地域 --- p.88
Chapter 第四節 --- 成書的分期與編輯集團 --- p.90
Chapter 第五節 --- 編輯集團成員的參與角色 --- p.93
Chapter 第六節 --- 清廷權貴與明室遺民：編輯集團的組合 --- p.98
Chapter 第五章 --- 《眾香詞》的編集體例 --- p.103
Chapter 第一節 --- 六卷之排列及特色´ؤ´ؤ以身份地位爲經 --- p.114
Chapter 第二節 --- 六卷內部之排列及特色´ؤ´ؤ以名望成就、生活年代爲緯 --- p.110
Chapter 第三節 --- 六卷之內容特色 --- p.115
Chapter 第四節 --- 六卷之相互連繫 --- p.120
Chapter 第六章 --- 《眾香詞》之採輯範圍及選詞特色 --- p.124
Chapter 第一節 --- 眾香詞人之時空跨度´ؤ´ؤ明末清初、江南爲主之女詞人 --- p.124
Chapter 第二節 --- 尊崇名門閨秀 --- p.128
Chapter 第三節 --- 稱賞青樓歌妓 --- p.130
Chapter 第四節 --- 務實可信：傳奇詞人、女鬼、女仙不載 --- p.134
Chapter 第五節 --- 「姑存其人以廣大意」：爲女詞人留名寫史 --- p.137
Chapter 第六節 --- 選錄遺民意識之作：明清易代的女性感受 --- p.140
Chapter 第七節 --- 爲秦淮名妓立傳：《數集》與晚明的「文化懷舊」 --- p.151
Chapter 第八節 --- 「不敢謾加評語」 ：不作圈點，意欲客觀 --- p.155
Chapter 第九節 --- 《草堂》之豔冶與貞孝節烈之作並行不悖 --- p.157
Chapter 第十節 --- 女性文人的傳統形象：迴文機巧、自憐身世、才女薄命 --- p.160
Chapter 第十一節 --- 《眾香詞´Ø凡例》與王士祿《燃脂集例》 --- p.165
Chapter 第七章 --- 眾香詞人及其詞作分析：私域女性(private women)´ؤ´ؤ閨秀 --- p.171
Chapter 第一節 --- 身份背景：名門望族、閨秀圈子、儒家教育 --- p.172
Chapter 第二節 --- 閨秀詞作分析 --- p.178
Chapter 一、 --- 詞調形式 --- p.178
Chapter 二、 --- 主題內容 --- p.182
Chapter 1. --- 歷史興亡、社會時局´ؤ´ؤ家國交織的女性處境 --- p.182
Chapter 2. --- 家族親情´ؤ´ؤ豐富的女性倫理角色 --- p.190
Chapter 3. --- 羈旅思ˇёإ´ؤ´ؤ歸寧之思 --- p.197
Chapter 4. --- 女性情誼´ؤ´ؤ男女關係以外的情感渴求 --- p.201
Chapter 5. --- 相思閨怨、寄夫憶夫´ؤ´ؤ文學伴侶式的婚姻 --- p.205
Chapter 6. --- 生活體驗´ؤ´ؤ居家性（domesticity)與日常性(dailiness) --- p.209
Chapter 7. --- 述懷自許´ؤ´ؤ自我建構（self-construction)、主體性(subjectivity) 的呈現 --- p.213
Chapter 8. --- 詠物´ؤ´ؤ細膩精緻的女性筆觸 --- p.217
Chapter 9. --- 應酬和韻´ؤ´ؤ突破女性的交遊圈子 --- p.222
Chapter 10. --- 題畫題像´ؤ´ؤ女性身份與照鏡自喻 --- p.226
Chapter 第三節 --- 閨秀詞作之藝術特色 --- p.230
Chapter 1. --- 纖巧細緻、典雅含蓄 --- p.230
Chapter 2. --- 以謝道韞爲楷模、取法李清照 --- p.232
Chapter 3. --- 女性關懷：嫦娥、七夕、女性歷史人物 --- p.236
Chapter 第八章 --- 眾香詞人及其詞作分析：「公眾女性」（Public women)´ؤ歌妓 --- p.241
Chapter 第一節 --- 身份背景：歌舞技藝、社交自由、國家興亡的符碼 --- p.241
Chapter 第二節 --- 歌妓詞作分析 --- p.246
Chapter 一、 --- 詞調形式 --- p.246
Chapter 二、 --- 主題內容 --- p.246
Chapter 1. --- 相思懷人´ؤ´ؤ青樓愛情的追逐 --- p.247
Chapter 2. --- 唱酬贈答´ؤ´ؤ歌妓的社交圈子 --- p.250
Chapter 3. --- 傷春悲秋、好景難永´ؤ´ؤ飄零身世的不安與憂慮 --- p.254
Chapter 4. --- 身世之感´ؤ´ؤ不堪零落、自傷失節 --- p.256
Chapter 5. --- 詠物狀物´ؤ´ؤ飄零無主之苦 --- p.258
Chapter 6. --- 生活瑣事及觸感´ؤ´ؤ「日常性」（dailiness)及「瑣屑性」 (fragmentary) --- p.260
Chapter 第三節 --- 歌妓詞作之藝術特色 --- p.262
Chapter 1. --- 率性自然、熱情放浪：擺脫道德束縛的感情書寫 --- p.262
Chapter 2. --- 預設對象、直呼對象：以「私密性」抗衡「公眾性」 --- p.264
Chapter 3. --- 語言淺白、口語化：真率直接的書寫筆法 --- p.266
Chapter 第四節 --- 閨秀與歌妓詞之比較分析 --- p.270
Chapter 1. --- 題材 --- p.270
Chapter 2. --- 語言風格 --- p.271
Chapter 3. --- 情感表達、筆法書寫 --- p.272
Chapter 第九章 --- 結論 --- p.273
Chapter 一、 --- 閨秀及青樓´ؤ´ؤ女性文學的兩大傳統 --- p.273
Chapter 二、 --- 明末清初的女詞人與詞壇關係 --- p.274
Chapter 三、 --- 女詞人在男性傳統下之妥協與對抗 --- p.274
Chapter 四、 --- 《眾香詞》之藝術價値與定位 --- p.275
附錄
附錄一 《眾香詞》三個版本所收詞人詞作比較 --- p.277
附錄二 《眾香詞》錦樹堂本與富之江本所收詞作之比較 --- p.292
附錄三 眾香詞人之字號、籍貫、作品集 --- p.304
附錄四 眾香詞人的家世背景 --- p.316
附錄五 眾香詞人之女性家族成員 --- p.331
附錄六 眾香詞人之生活年代 --- p.336
附錄七 眾香詞編輯集團成員資料 --- p.348
附錄八 從詞人小傳所見《眾香詞》引錄資料來源 --- p.365
附錄九 其他選本所見眾香詞人詞作數目 --- p.378
附錄十 選本中所見六集比例 --- p.390
附錄十一明末清初女性選集之編集體例及特點 --- p.392
附錄十二 《眾香詞》各集所用詞牌統計 --- p.401
附錄十三《眾香詞》所選迴文及遊戲之作 --- p.411
附錄十四清代詩話、詞話、文人筆記等所見眾香詞人評論 --- p.413
附錄十五眾香詞人文集之撰序者及與其他文人之關係 --- p.466
附錄十六眾香詞人之唱酬關係表 --- p.480
參考書目 --- p.491
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Liu, Xiaohua. "Bai Juyi's poems about women/." 2009. https://scholarworks.umass.edu/theses/1726.
Full textBooks on the topic "Chinese Women poets"
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Shi, Shuyi. Qing dai gui ge shi ren zheng lue. [Taibei shi Yonghe Shi]: Wen hai chu ban she, 1991.
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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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Cai, Xiaorou. Li Qingzhao zhuan: Ban shi yan yu ban shi qing. Beijing: Tai hai chu ban she, 2020.
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Qing, Junce. Yi zhong xiang si liang chu xian chou: Li Qingzhao zhuan. Beijing: Beijing gong ye da xue chu ban she, 2017.
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Kang, Ma. 满目梨花词: Li dai nü shi ren de shi sheng huo. Nanning Shi: Guangxi ren min chu ban she, 2008.
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Fukushima, Riko. Joryū: Ema Saikō, Hara Saihin, Yanagawa Kōran. Tōkyō: Iwanami Shoten, 1995.
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1916-, Zhang Zhenhuai, ed. Qing dai nü ci ren xuan ji. Taibei Shi: Wen shi zhe chu ban she, 1997.
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1692-1778, Shi Zhenlin, Lai T. C, and Choy Elsie, eds. Leaves of prayer: The life and poetry of He Shuangqing, a farmwife in eighteen-century China : selected translations from Shi Zhenlin's West green random notes. 2nd ed. Hong Kong: Chinese University Press, 2000.
Find full textBook chapters on the topic "Chinese Women poets"
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Chang, Kang-i. Sun. "CHAPTER 9 Ming-Qing Women Poets and the Notions of "Talent" and "Morality"." In Culture and State in Chinese History, 236–58. Stanford University Press, 1997. http://dx.doi.org/10.1515/9780804765060-013.
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Davis, Nancy E. "Introduction." In The Chinese Lady, 1–8. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190645236.003.0001.
Full textAbstract:
The introduction provides the early history of the American China trade by recounting China trader Captain John O’Donnell’s landing with Chinese seamen in Baltimore in 1785 and a newspaper welcome that asserted: “Commerce binds and unites all Nations of the Globe with a golden chain.” Nearly a half-century later, in 1834, a young Chinese woman, Afong Moy, arrived in America, having been coerced to participate in this golden chain of global commerce. As the first Chinese woman to travel the country, her exotic appearance and bound feet elicited commentary in newspapers, diaries, poems, and letters. Unwittingly, she served as the first cultural bridge in the American public’s perceptions of China through the staged presentation of objects, clothing, and images—and herself.
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Corthron, Kia. "From Reflex and Bone Structure." In The Essential Clarence Major, 3–10. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469656007.003.0001.
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Part One of the book contains excerpts from six of Clarence Major’s novels: Reflex and Bone Structure, My Amputations, Such Was the Season, Painted Turtle: Woman with Guitar, Dirty Bird Blues, and One Flesh. Reflex and Bone Structure (1975) is a narrative of subtle clues regarding Majors’s Manhattan characters; the story then shifts to a road trip. Painted Turtle is an examination of Zuni life from the perspective of the narrator, who meets the title character as an adult and, from the stories she has told him, pieces together her existence from childhood on. The novel incorporates cultural language, traditions, and mental illness linked to the legacy of attempted race extermination. My Amputations chronicles a fictional African American poet abroad in Nice and Oxford for conference and readings. One Flesh centers on John and Susie, a black painter and a Chinese American poet in San Francisco, who are considering marriage.
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Fei, Wu. "Confucianism, Taoism, and suicide." In Oxford Textbook of Suicidology and Suicide Prevention, edited by Danuta Wasserman and Camilla Wasserman, 17–22. Oxford University Press, 2021. http://dx.doi.org/10.1093/med/9780198834441.003.0003.
Full textAbstract:
In Confucianism, suicide is thought of as an acceptable way to protect one’s dignity and virtue: in late imperial China, suicide was required for intellectuals who had survived their emperor, and for women who had been raped. Nevertheless, most Confucian intellectuals do not consider suicide the best choice to pursue human virtue. Although Qu Yuan—the great poet and the person responsible for the most famous suicide in Chinese history—is often praised for his loyalty and virtues, he is also criticised for being narrow-minded. According to the Taoist teachings of Zhuangzi, one should not be too concerned about worldly affairs, including life and death. Examining ideas on life and death found in Confucianism and Taoism provides a deeper cultural understanding of possible underlying motives for committing suicide. This knowledge can contribute to more effective suicide prevention.
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Tuttle, William M. "“Daddy’s Coming Home!”." In “Daddy’s Gone to War”, 212–30. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195049053.003.0012.
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Abstract In The Late afternoon, all the factory whistles went off, sirens sounded & everyone in town was honking their car horns So much excitement!!” It was V-J Day, August 14, 1945. That evening this home front girl and her townsfolk in Waukesha, Wisconsin, “gathered at the park & sang patriotic songs.” And so it was across the country. The war was over; the Japanese had surrendered. Americans celebrated. A Massachusetts boy’s family was staying at a beachside resort when two women from a nearby cottage, Docky and Eddie, appeared bearing tumblers of whiskey, a large Chinese gong, a trumpet, and news of America’s victory. “In all the hubbub,” the boy remembered, “punctuated by Eddie’s gong, a parade was organized.” Beating pots and pans and shouting “THE WAR IS OVER,” the parade stopped along its route, and “at every house, kids and their parents joined us....”
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Davis, Richard L. "The Prodigal Son." In Fire and Ice. Hong Kong University Press, 2016. http://dx.doi.org/10.5790/hongkong/9789888208975.003.0001.
Full textAbstract:
Footing in two cultures proved a mixed blessing for Li Cunxu (885–926), the object of much envy in his day. Through paternal ties to the Shatuo-Turks of Inner Asia, he projected the martial panache reminiscent of his father, Li Keyong (856–908). Equally impressive was Cunxu’s comfort with the culture of his Chinese mother, Woman Cao, who drew upon a dedicated group of local mentors to prepare the youth for his destiny with history. Cunxu made frequent boast of his facility in the literary language and classical traditions of China. He also made much of his creativity as poet and musician, having composed by his own hand the marching songs for his armies. Conscious of his role as model for future Shatuo emperors, Cunxu needed to strike the right balance in negotiating his two identities. But sadly, fifteen years of almost ceaseless warfare in search of realizing other people’s dreams left little time for second thoughts about the cost of dynasty to own individuality. Would he force change upon the institution of monarchy or would the institution humble him? Tragically, so much constructive energy in his short yet historic reign were consumed by this epic contest of wills.