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Journal articles on the topic 'Courtesans'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Berg, Daria. "CULTURAL DISCOURSE ON XUE SUSU, A COURTESAN IN LATE MING CHINA." International Journal of Asian Studies 6, no. 2 (2009): 171–200. http://dx.doi.org/10.1017/s1479591409000205.

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This paper investigates perceptions of courtesans, gender and power from various perspectives, using both literary and non-literary sources and reconstructed lost books. Analysis focuses on representations of the celebrated courtesan, poet and painter Xue Susu (fl. 1575–before 1652) by writers of different backgrounds, gender and class. In late Ming times women participated in elite culture in unprecedented numbers. Courtesans gained prominence in the literati arts, playing a formative role in shaping cultural ideals. Late imperial Chinese discourse embeds the image of the courtesan in the for

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2

تنزیلہ شبیر and ڈاکٹر زینت افشاں. "THE REPRESENTATION OF THE PROSTITUTE IN MANTO’S STORIESI IN THE CONTEXT OF SUBALTERN NARRATIVE." Kashf Journal of Multidisciplinary Research 2, no. 01 (2025): 10–21. https://doi.org/10.71146/kjmr181.

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In the context of subaltern narrative, the identity of the courtesan in Manto's stories is a complex and multi-dimensional subject. According to subaltern theory, those individuals or classes who are marginalized or whose voices are silenced do not find a place in the dominant narrative, and they are discussed within a socio-political framework. In Manto's writings, the courtesan is presented as part of a similar suppressed and overlooked class. Manto portrays the courtesan not only as a victim of social stigma and exploitation but also as a human being with emotions and struggles. Courtesans,

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3

Xu, Sufeng. "The Courtesan as Famous Scholar: The Case of Wang Wei (ca. 1598-ca. 1647)." T’oung Pao 105, no. 5-6 (2020): 587–630. http://dx.doi.org/10.1163/15685322-10556p03.

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Abstract This article examines the life and poetry of Wang Wei, one of the most distinguished courtesan poets of the Ming dynasty. Through an examination of her courtesan career, her friendship networks in literati circles, and her adoption of multiple identities such as xianren (person of leisure), daoren (person of the Dao), and shiren (poet), it seeks to illustrate what I believe is an important explanation for the flourishing of late Ming courtesan and literati culture. The rising prominence of learned and literary courtesans was strongly connected to a new social formation of nonconformis

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4

Pi-Ching, Hsu. "Courtesans and Scholars in the Writings of Feng Menglong: Transcending Status and Gender." NAN NÜ 2, no. 1 (2000): 40–77. http://dx.doi.org/10.1163/156852600750072303.

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AbstractThe last century of the Ming dynasty saw an upsurge in romances between talented scholars and devoted courtesans. This paper discusses the social, cultural, economic, and political factors which might have contributed to the popularity of that genre. Focusing on Feng Menglong's writings of idealized courtesans who transcended their lowly existence at the bottom of gender and status hierarchies, the study also explores the interplay of ethics and culture in the courtesan-scholar romances and what the romances revealed about the literati perceptions of Self and Other.

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5

Nazarova, O. A., and R. R. Gaynullina. "The Courtesan in the Italian Renaissance Art: Portraits of Barbara Salutati by Domenico Puligo." Art Studies Journal, no. 4 (2024): 110–43. https://doi.org/10.51678/2073-316x-2024-4-110-143.

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The paper addresses a long-debated issue of whether and how courtesans were represented in Italian Renaissance painting. The first part presents a historiographical review of the art-historical literature on the subject, demonstrating which types of Renaissance painted images used to be associated with courtesans, and how radically approaches to interpreting these works have changed in recent years. The second part analyses a unique set of three portrait images – the only one that can be plausibly linked to the historical figure of a specific courtesan, the Florentine Barbara Salutati, who was

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6

Fleck, Andrew. "The Custom of Courtesans and John Marston'sThe Dutch Courtesan." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 21, no. 3 (2008): 11–19. http://dx.doi.org/10.3200/anqq.21.3.11-19.

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7

Zurndorfer, Harriet T. "Prostitutes and Courtesans in the Confucian Moral Universe of Late Ming China (1550–1644)." International Review of Social History 56, S19 (2011): 197–216. http://dx.doi.org/10.1017/s0020859011000411.

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SummaryThis study pursues three goals: to unravel the socio-economic conditions which pushed women into prostitution and courtesanship, to analyse their position in Chinese society, and to relate what changes occurred at the end of the Ming dynasty that affected their status. According to contemporary judicial regulations, both prostitutes and courtesans were classified as “entertainers”, and therefore had the status of jianmin [mean people], which made them “outcasts” and pariahs. But there were great differences, beyond the bestowal of sexual favours, in the kind of work these women performe

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8

Feldman, Shelley, and Karuna Morarji. "Highway Courtesans." Visual Anthropology 20, no. 2-3 (2007): 251–54. http://dx.doi.org/10.1080/08949460601064663.

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9

Zamperini, Paola. "But i nEver Learned To Waltz: the "Real" and Imagined Education of a Courtesan in the Late Qing." NAN NÜ 1, no. 1 (1999): 107–44. http://dx.doi.org/10.1163/156852699x00072.

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AbstractThis article illustrates the complex web of agency, voice, compliance, and resistance that men and women alike wove and unraveled in (re)presenting fictional and nonfictional versions of the education and the life-cycle of courtesans at the turn of last century. On the one hand, it shows how Chinese male novelists appropriate the long-standing cliche of the courtesan to expand (albeit in a limited way) and exoticize the horizons of female subjectivity. On the other hand, it reveals how, thanks to the explosive development of print culture begun in the late nineteenth century, the court

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10

Park, Chungah. "A Study of the Courtesan Images in Sanyŏhwa during the Late Ming and Early Qing Dynasties." Korean Journal of Art History 322 (June 30, 2024): 93–120. http://dx.doi.org/10.31065/kjah.322.202406.004.

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This paper explores <i>Sanyŏhwa</i> (仕女畵, <i>Painting of Court Ladies</i>) from late Ming and early Qing dynasties, aiming to unravel the various perspectives and interpretations associated with courtesans. During these periods, economic and commercial growth in Jiangnan (江南) spurred a thriving entertainment culture, fostering intimate bonds between celebrated courtesans and intellectuals. Known for their refined poise and exceptional talents, courtesans were lauded as the epitome of beauty by the contemporary elites who frequently discussed the beauty (美人, <i>mei

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11

Orr, C. C. "Countesses and Courtesans." History Workshop Journal 62, no. 1 (2006): 278–92. http://dx.doi.org/10.1093/hwj/dbl013.

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12

McKay, Jenny. "Manuals for courtesans." Critical Quarterly 41, no. 1 (1999): 71–81. http://dx.doi.org/10.1111/1467-8705.00214.

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13

Tybush, Brooke. "Singing of Sex and Freedom: Courtesans and Erotic Arts in “Zabet”." French Review 97, no. 1 (2023): 159–74. http://dx.doi.org/10.1353/tfr.2023.a911325.

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Abstract: This article examines depictions of mixed-race courtesans in the eighteenthcentury Creole courtesan song “Zabet” which was originally transcribed in an unpublished document by the travel writer Moreau de Saint-Méry (1750–1819). My analysis of “Zabet” interrogates the intersecting oppressions of racism, sexism, and imperialism. Specifically, this article demonstrates how the lyrics of this song present a woman-to-woman sexual mentorship that provides a space of resistance for women of color to these intersecting oppressions. Through this mentorship, the song’s narrator/singer provides

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14

Dr., Preeti Sharma. "Dancing With Power: Courtesans As Cultural Patrons in Mughal and Deccan Courts." Rubrics 7, no. 5 (2025): 1–15. https://doi.org/10.5281/zenodo.15591480.

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This research explores the multifaceted role of courtesans as cultural patrons and knowledge producers in the Mughal and Deccan courts between the 16th and 19th centuries. Moving beyond their traditional portrayal as mere performers or entertainers, this study repositions courtesans, particularly tawaifs and high-ranking court dancers, as influential figures within the socio-cultural and intellectual fabric of Indo-Islamic courts. By examining their patronage of poetry, music, dance, and literature, this work argues that courtesans played a crucial role as key transmitters of refined aesthetic

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15

Mukhia, Harbans. "The Celebration of Failure as Dissent in Urdu Ghazal." Modern Asian Studies 33, no. 4 (1999): 861–81. http://dx.doi.org/10.1017/s0026749x99003522.

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Recent years have brought a spate of serials centred on the theme of Urdu ghazal to the Indian television screens. The image of the ghazal in these serials is one of a kind of rhymed verse sung by courtesans in their ‘kothas’ (residence-cum-performance locales), under the appreciative eye of the poet, and often lustful eye of a decrepit zamindar whose purse is heavy but judgement is light. The singing is accompanied by some dancing, a few musical instruments being played by the courtesan's hangers-on, and unceasing rounds of liquor. The ambience in which the performance is enveloped is meant t

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16

Ni, Shuoyao. "The Images of the Courtesans in Liu Yong's Vulgar Lyrics." International Journal of Education and Humanities 5, no. 1 (2022): 131–33. http://dx.doi.org/10.54097/ijeh.v5i1.1955.

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Liu Yong was originally known as Liu Sanbian, but later changed his name to Yong, also named Qiqing, born in Chong'an. He was an influential contributor to the Song dynasty lyric literature. Influenced by the culture of the marketplace, Liu Yong's lyrical works reflect the characteristics of Slang and vulgar. Liu Yong's vulgar lyrics are dominated by the erotic words of men and women, with numerous depictions of women in the capacity of courtesans. The courtesans in Liu Yong's lyrics are portrayed with a female form in a male aesthetic, boldly breaking away from the traditional sense of love a

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17

Park, Hyun Suk. "Courtesans in Military Uniforms: Martial Spectacles by Cross-Dressing Courtesans of Ŭiju in the Late Chosŏn Period." Journal of Korean Studies 28, no. 2 (2023): 315–39. http://dx.doi.org/10.1215/07311613-10625801.

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Abstract This article explores the martial spectacles that the courtesans of Ŭiju, a town on the border of Chosŏn and Qing, offered to envoys and government officials of Chosŏn in the eighteenth and nineteenth centuries. Courtesans were deployed in the border towns by the Chosŏn government in order to provide entertainment honoring the envoys. Their performances, however, do not appear to be strictly aligned with their official obligation to glorify royal authority, as they developed into a repertoire of martial spectacles including a sword dance, horseback riding, a pseudomilitary inspection,

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18

Esser, Helena. "Material Girls: Moulin Rouge!’s Neo-Victorian Spectacle and the Real Courtesans of Paris." Victorian Popular Fictions Journal 4, no. 1 (2022): 112–26. http://dx.doi.org/10.46911/irpl4110.

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This article discusses Baz Luhrmann’s 2001 juke-box musical film Moulin Rouge! and its failure to re-think gender despite its clever remix of late-Victorian mass media. After introductions that consider the film’s postmodern mashups of high and low, commonplaces from nineteenth- and twentieth-century popular cultures, the article examines courtesan narratives rooted in two famous novels that the film plays with: La dame aux camélias (1852) by Alexandre Dumas fils and Nana (1880) by Émile Zola. It contrasts them with the lives of real, French celebrity courtesans in order to show the narrative

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19

Leonard, Karen. "Political players: Courtesans of Hyderabad." Indian Economic & Social History Review 50, no. 4 (2013): 423–48. http://dx.doi.org/10.1177/0019464613502414.

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20

James, Sharon L. "Women reading men: the female audience of theArs amatoria." Cambridge Classical Journal 54 (2008): 136–59. http://dx.doi.org/10.1017/s1750270500000609.

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The female readership of theArs amatoriahas been for two millennia a subject fraught with problems both historical and theoretical. For example: in antiquity, did respectable women read the poem? Almost certainly, and they were almost certainly expected to. Were they intended to? Here less certainty is possible, not only because of the problem of divining authorial intention. Did non-respectable women, the real life analogues to the poem's fictive courtesans, read theArs? Some of them – the elite ones – must have, but lower-level courtesans would have had less opportunity to acquire copies of

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21

Sol Mora, Pablo. "Carmen Y. Hsu, Courtesans in the literature of Spanish Golden Age. Reichenberger, Kassel, 2002; 301 pp." Nueva Revista de Filología Hispánica (NRFH) 52, no. 2 (2017): 552–55. http://dx.doi.org/10.24201/nrfh.v52i2.3239.

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22

முனைவர், பீ.பெரியசாமி /. Dr. B. Periyaswamy. "கலித்தொகையில் பரத்தையர் / Parathaiyar (Courtesan) in Kalithogai". Pandian Journal of Women's Studies 4, № 1 (2024): 54–60. https://doi.org/10.5281/zenodo.12619812.

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<em>Prostitution was not a condemned act in Sangam literature. It was normal for a man to marry more than one woman. Sangam men lived in polygamy and had courtesans. It was a show of their wealth and entertainment. The ancient Tamil community was delighted by such acts. Even though Sangam society has glimpses of polygamy and adultery, the songs in the Marutathinai show that it was not completely accepted by all. All the songs of Marutathinai in the Sangam hymns describe the separation of the leader (Thalaivan) and the resulting death of the leader. The sufferings of the beloved (Thalaivi) have

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23

윤지양. "Study on the Discrimination against Foreign Courtesans and Cantonese Courtesans in Zou Tao’s Haishang Zhongwai Qinglou Tushuo." CHINESE LITERATURE 99, no. ll (2019): 105–23. http://dx.doi.org/10.21192/scll.99..201905.006.

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24

Cielas, Hermina. "Courtesans, Consorts, Poetesses, Avadhāninī s, and Śatalekhinī s: The Multitalented Female Artists at the Seventeenth-Century Nāyaka Court in Tanjore." Tulsa Studies in Women's Literature 42, no. 2 (2023): 213–34. http://dx.doi.org/10.1353/tsw.2023.a913019.

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ABSTRACT: This essay aims to compare the work of Rāmabhadrāmbā, Madhuravāṇī, Raṅgājamma, and Kṛṣṇājī, Indian performative artist-courtesans and poetesses active in the seventeenth century at the Nāyaka court in Tanjore. The paper seeks to expand knowledge about them and their work, a significant subject that has been underresearched in Indology so far. The skills and literary achievements of female artists are presented through the analysis of selected passages from their works, such as Raghunāthābhyudaya (The rise of Raghunātha), Śrīrāmāyaṇasāratilaka (The ornament of the essence of Śrīrāmāya

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25

Wencis, Leonard P., and Madeleine Mary Henry. "Menander's Courtesans and the Greek Comic Tradition." Classical World 80, no. 6 (1987): 452. http://dx.doi.org/10.2307/4350106.

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26

Brundage, James A. "Prostitutes and Courtesans in the Ancient World." History: Reviews of New Books 34, no. 3 (2006): 100–101. http://dx.doi.org/10.1080/03612759.2006.10526897.

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27

Sarkar, Aditi. "The Agency and Legacy of Indian Courtesans." RESEARCH REVIEW International Journal of Multidisciplinary 4, no. 1 (2019): 2931–33. http://dx.doi.org/10.31305/rrijm.2019.v04.i01.468.

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28

Rezavi, Syed Ali Nadeem. "Book review: Mathew S. Gordon and Kathryn A. Hain, eds., Concubines and Courtesans: Women and Slavery in Islamic History." Studies in People's History 7, no. 2 (2020): 232–34. http://dx.doi.org/10.1177/2348448920953957.

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Mathew S. Gordon and Kathryn A. Hain, eds., Concubines and Courtesans: Women and Slavery in Islamic History (New York: Oxford University Press), 2017, ix + 354 pp., ISBN 9780190622183 (Hb.), ISBN 9780190622206 (e.pub), ₹1,969.97 (Kindle).

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29

Yun, Hyeji, and Byunghye Hong. "The Literary Elegance of Courtesan Poetry: A Study of Zhou Bangyan’s Courtesan-Themed Yan Ci." Korean Society of Human and Nature 6, no. 1 (2025): 587–624. https://doi.org/10.54913/hn.2025.6.1.587.

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Zhou Bangyan(周邦彦) is a distinguished poet renowned for his contributions to yan ci(艶詞), and his works exemplify the refined and intricate beauty characteristic of the wanyue ci(婉約詞) style at its height. While his poetry has often been overlooked due to its seemingly narrow thematic scope, it demonstrates a profound artistic sophistication and literary depth. Despite achieving considerable popularity during the Northern Song period, Zhou Bangyan’s poetry has received relatively less scholarly attention compared to that of Liu Yong(柳永) or Qin Guan(秦觀), largely due to its strong literary orientat

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30

Xu, Sufeng. "Domesticating Romantic Love during the High Qing Classical Revival." Nan Nü 15, no. 2 (2013): 219–64. http://dx.doi.org/10.1163/15685268-0152p0002.

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This study examines the Heming ji (Collection of singing in harmony), which comprises the sometimes surprisingly intimate poetic exchanges between the woman intellectual Wang Zhaoyuan (1763-1851) and her husband Hao Yixing (1757-1829), both renowned in their lifetimes as classical “evidential research” (kaozheng) scholars. The paper seeks to demonstrate the transformation of the cult of qing (romantic love) in the High Qing period. It argues that, as the centrality of courtesans in literati culture died out with the Ming-Qing dynastic transition, gentry women came to represent the positive cul

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31

Gillies, Jean, and Lynn Lawner. "Lives of the Courtesans: Portraits of the Renaissance." Woman's Art Journal 10, no. 1 (1989): 43. http://dx.doi.org/10.2307/1358131.

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32

Henry, Madeleine Mary. "Prostitutes and Courtesans in the Ancient World (review)." American Journal of Philology 128, no. 3 (2007): 419–23. http://dx.doi.org/10.1353/ajp.2007.0036.

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33

Bossler, Beverly. "Shifting Identities: Courtesans and Literati in Song China." Harvard Journal of Asiatic Studies 62, no. 1 (2002): 5. http://dx.doi.org/10.2307/4126583.

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34

Cowaloosur, Vedita. "Dancing with the nation: courtesans in Bombay cinema." Journal of Postcolonial Writing 56, no. 5 (2020): 729–30. http://dx.doi.org/10.1080/17449855.2020.1762969.

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35

Westney, Lynn. "From Courtesans to Queens: Recipes Named for Women." Names 55, no. 3 (2007): 277–85. http://dx.doi.org/10.1179/nam.2007.55.3.277.

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36

Even, Yael, and Lynne Lawner. "Lives of the Courtesans; Portraits of the Renaissance." Sixteenth Century Journal 19, no. 1 (1988): 118. http://dx.doi.org/10.2307/2540972.

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37

He, Lifang, and Jun Fang. "Plum Shadows and Plank Bridge: Two Memoirs about Courtesans." Chinese Historical Review 27, no. 1 (2020): 85–87. http://dx.doi.org/10.1080/1547402x.2020.1789278.

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38

Cohen, Elizabeth S. "“Courtesans” and “Whores”: Words and behavior in roman streets." Women's Studies 19, no. 2 (1991): 201–8. http://dx.doi.org/10.1080/00497878.1991.9978866.

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39

Eggen, Nora S. "Concubines and courtesans: women and slavery in Islamic history." Women's History Review 27, no. 7 (2018): 1227–28. http://dx.doi.org/10.1080/09612025.2018.1501211.

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40

Woods, Paula M. "Greene's Conny-Catching Courtesans: The Moral Ambiguity of Prostitution." Explorations in Renaissance Culture 18, no. 1 (1992): 111–24. http://dx.doi.org/10.1163/23526963-90000138.

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41

Conyers, Claude. "Courtesans in Dance History:Les Belles de la Belle Époque." Dance Chronicle 26, no. 2 (2003): 219–43. http://dx.doi.org/10.1081/dnc-120021709.

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42

Fear, Trevor. "Of Aristocrats and Courtesans: Seneca, De Beneficiis 1.14." Hermes 135, no. 4 (2007): 460–68. http://dx.doi.org/10.25162/hermes-2007-0040.

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43

Gilhuly, Kate. "Bronze for Gold: Subjectivity in Lucian's Dialogues of the Courtesans." American Journal of Philology 128, no. 1 (2007): 59–94. http://dx.doi.org/10.1353/ajp.2007.0015.

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44

Marra, Michele. "The Buddhist Mythmaking of Defilement: Sacred Courtesans in Medieval Japan." Journal of Asian Studies 52, no. 1 (1993): 49–65. http://dx.doi.org/10.2307/2059144.

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When buddhist institutions directed their efforts to the evangelization of the common people during the Kamakura and Muromachi periods (1192–1573), they met a set of popular beliefs that were deeply entrenched in the lives of their new audience. In spite of local variations in the names of the deities worshiped and in the details of ritual performances, a series of “defiling” practices that were perceived as dangerous taboos (imi) provided Japanese worshipers with a common denominator that transcended geographic, linguistic, and time boundaries.

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45

Palma, Pina. "Of Courtesans, Knights, Cooks and Writers: Food in the Renaissance." MLN 119, no. 1 (2004): 37–51. http://dx.doi.org/10.1353/mln.2004.0067.

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46

Jenkins, Thomas E. "An American "Classic": Hillman and Cullen's Mimes of the Courtesans." Arethusa 38, no. 3 (2005): 387–414. http://dx.doi.org/10.1353/are.2005.0017.

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47

WILLIAMS, RICHARD DAVID. "Songs between cities: listening to courtesans in colonial north India." Journal of the Royal Asiatic Society 27, no. 4 (2017): 591–610. http://dx.doi.org/10.1017/s1356186317000311.

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AbstractIn the aftermath of 1857, urban spaces and cultural practices were transformed and contested. Regional royal capitals became nodes in a new colonial geography, and the earlier regimes that had built them were recast as decadent and corrupt societies. Demolitions and new infrastructures aside, this transformation was also felt at the level of manners, sexual mores, language politics, and the performing arts. This article explores this transformation with a focus on women's language, female singers and dancers, and the men who continued to value their literary and musical skills. While d

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48

van der Werf, Marieke J. "Courtesans and Consumption: How Sexually Transmitted Infections Drive Tuberculosis Epidemics." Tuberculosis 92, no. 6 (2012): 543. http://dx.doi.org/10.1016/j.tube.2012.05.002.

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49

Singh, Lata. "Courtesans and the 1857 Revolt: Role of Azeezun in Kanpur." Indian Historical Review 34, no. 2 (2007): 58–78. http://dx.doi.org/10.1177/037698360703400204.

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50

De Rycker, Kate. "Translating theRagionamento: Reframing Pietro Aretino as the Castigator of Courtesans." Literature Compass 12, no. 6 (2015): 299–309. http://dx.doi.org/10.1111/lic3.12233.

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