Journal articles on the topic 'Empress Dowager Cixi'

This paper discusses the practice of Empress Dowager Cixi’s embodiment of Guanyin, the most influential female deity in China. Empress Dowager Cixi (1835-1908), the ruling monarch of Qing China, embodied this deity via different media such as painting, fashion, and photographs. This study demonstrates both the religious and historical consequences of Cixi’s particular vision of herself as Guanyin. It explains how Cixi combined theatricality with religiosity in different media and how she fashioned herself in both roles simultaneously as Guanyin and ruling empress Cixi.

This essay commences with an overview of recent revisionist scholarship about Empress Dowager Cixi (1835-1908) who in her lifetime and thereafter gained a reputation as a formidable opponent of the modernization process in late Qing China. It reviews both past and present studies about the Empress’s political behavior, considers her changing image in more recent historical writing in and outside China, and then focuses on her interest in art and material culture. Discussion of the Empress’s involvement in drama, garden and palace decoration, fashion, and photography introduces the four articles in this journal issue.

This study argues against the common perception that the Qing court theatre was a closed cultural institution. It suggests that this theatre developed in conjunction with popular performance traditions outside the court that were stimulated by Empress Dowager Cixi (1835-1908). Through close readings of a set of ceremonial dramas (yidian xi) commissioned by the Empress for the birthday celebrations of imperial family members, this essay explores the aesthetic transition from ritual to entertainment in this particular genre. It shows how as Empress Dowager Cixi indulged in her personal fantasies, the court theatre altered. These new plays initiated a paradigm shift from choreographed pageantry to an actor-centered stage, and as such indicate Cixi’s important role in the transformation of ceremonial court theatre.

Through an examination of both oil portraits and photographs of the Empress Dowager Cixi (1835-1908), this essay explores the visibility and publicity of portraits of political figures in the last years of China’s imperial history. There are two main issues of concern here. First, the essay discusses how Cixi assumed the role as head of the ‘Great Qing State’ in international diplomacy and politics by using portraits of herself as a public representative to construct a coherent image of her own. Second, the study investigates a new form of political self-fashioning that centered on portraiture, and that emerged in public space in the forms of publication and exhibition. This self-fashioning was tested in public space, which was now conducive to the formation of public opinion, the manipulation of which did not always lie in the hands of political figures such as Cixi.

The vilified Empress Dowager Cixi (1835–1908) of late Qing China remains a symbol of national humiliation and weakness in modern Chinese historiography. Scholars attribute Cixi’s “rule behind the curtains” responsible for the ultimate decline of the Qing dynasty and its capitulatory peace with foreign powers. This article revisits the conditions that enabled Cixi’s rise to power during the Tongzhi reign (1861–75) and argues that Hanlin academicians regarded her as a potentially capable regent upon whom they could count to manage state affairs in the best interests of the Tongzhi emperor. This article also argues that Cixi acquired her political vocabulary from her Hanlin lecturers who compiled a unique primer for their patroness – the Zhiping baojian (A precious mirror for governing the peace) – on female regency in China’s imperial past.

AbstractAfter the 1861 coup that brought her to power, Empress Dowager Cixi mobilized a variety of traditions of imperial education to cultivate the persona of a classical ruler and cement her place at the center of Qing governance. At the turn of the twentieth century, however, her enemies launched a propaganda campaign that portrayed Cixi not as a legitimate ruler but as the enemy of progress. In response, Cixi herself began a project to refashion the Qing throne, placing new institutions of imperial education for women at the center of efforts to reestablish her domestic authority and reclaim the Qing’s international standing. After reviewing Cixi’s strategies of legitimation from 1861 to 1898, this paper focuses on the Empress’s twentieth-century attempt to construct an educational apparatus to invent and train a group of female nobles who were intended to play a leading role in reforms around the country. In advocating for the role of these women and institutions, Cixi placed herself and a cosmopolitan cohort of women at the center of plans for China’s future. This future was predicated on a refashioned Qing imperial ideology that grounded the legitimacy of the state in part in its participation in global norms and practices of governance. Although the future Cixi imagined for herself and the Qing never materialized, an examination of the project helps shed new light on the politics and culture of the late Qing and beyond.

Empress Dowager Cixi (1835-1908) is one of the most significant and controversial political figures in modern Chinese history, yet her comprehensive engagement with court art, a symbolic realm of sovereignty in China, remains understudied and is therefore deserving of close analysis. To examine her patronage of art, this paper scrutinizes Cixi’s involvement in the Wanchun yuan (Garden of ten thousand springs) reconstruction project and argues that it not only exemplifies her strategy of asserting political power through art but also provides a rare glimpse of how a patron’s creation and decoration of space can be read as a self-portrait.The author contends that, on the one hand, Cixi utilized the location and scale of her own palace the Tiandi yijiachun (Spring united between Heaven and Earth) as a symbol of her continuous power struggle with Qing imperial tradition; and, on the other hand, that the palace’s layout and interior décor also suggest Cixi’s feminine and religious identities.

On January 29, 1901, in the grim aftermath of the Boxer Uprising and the humiliating foreign invasion of north China that followed, the Empress Dowager Cixi issued a famous edict that initiated the New Policy (xinzheng) reforms.The weakness of China is caused by the strength of convention and the rigid network of regulations. We have many mediocre officials but few men of talent and courage. The regulations are used by mediocre men as the means of their self-protection, and taken advantage of by government clerks as sources of profit. The government officials exchange numerous documents but they never touch reality. The appointment of capable men is restricted by regulations so rigid that even men of exceptional talent are missed. What misleads the country can be expressed in one word, selfishness, and what suffocates all under heaven is precedent.

The reform movement of 1898 sought to move the Qing empire toward comprehensive and unprecedented institutional change and thus was a critical event in modern Chinese history. Had it succeeded, China could have, like Meiji Japan, entered the modern era without revolutions. Yet, however determined and daring its leaders, the historic effort was suddenly and tragically cut short by a coup.The standard view of the Reform Movement has been that, in reaction to China's repeated defeats and humiliation as well as the inadequacy of the Self-strengthening Movement, the reform-minded Kang Youwei (illustration 1) and Liang Qichao finally won support for change from a sympathetic Guangxu Emperor. The reformers then managed to put into effect a nationwide reform program through imperial decrees. But the movement, which lasted barely over one hundred days, came to an abrupt end when the Empress Dowager Cixi and her conservative supporters recaptured political power, executed or imprisoned many of the reformers, and placed the emperor under permanent house arrest.

The qing court had a love-hate relationship with popular drama. From the Qianlong emperor (r. 1736–95) to the Empress Dowager Cixi (1835–1908), several Qing rulers were renowned for their doting patronage of popular opera, yet the state was far from sanguine about drama's social effects, viewing public theaters with great suspicion. Theaters, in the eyes of the authorities, were notorious hangouts for ruffians, slackers, gamblers, and insurgents, providing these roustabouts with the ideal environment in which to scheme and swindle. In addition to waging campaigns to censor and weed out “seditious passages” from popular dramas (Guy 1987, 92), emperors throughout the Qing dynasty issued dozens of edicts regulating the construction, location, and clientele of commercial theaters. In rural areas, especially in times of unrest, local authorities often canceled scheduled performances for fear that such occasions offered gangs and secret societies prime opportunities for stirring up trouble (Mackerras 1972, 37). Urban theaters were no safer. According to popular lore, even the Kangxi emperor was cheated by hoodlums when he ventured into a public theater during one of his legendary outings disguised as a commoner (Liao 1997, 80). Yet in spite of their reputation for breeding disorder and moral vice, commercial theaters—commonly known as teahouses (chayuan)—increasingly thrived, and in this new social space, the genre of Peking opera came into full flower during the last century of the Qing dynasty.

On 6 November 1865, Robert Hart, the 30-year-old Inspector General (I.G.) of the Imperial Maritime Customs Service, presented to his supervisors in the Zongli Yamen, the Qing Empire's new foreign office, a long memorandum critiquing Chinese administrative practices and offering suggestions for improvement. He criticized corruption and inefficiency at all levels of government, called for tax reform, greater specialization and better technical education of officials, improving contacts with the outside world, and promoting foreign methods and technology. The memorandum, written in Chinese, was entitled the ‘Bystander's View’ (juwai pangguan lun). A few months later it was submitted by the Zongli Yamen to the throne, and together with a similar tract by British diplomat Thomas Wade, distributed to senior Qing officials for comment. It had little impact at the time. But forty years later, when the Empress Dowager Cixi reportedly told the author that she wished she had followed his advice, it became a foundation stone of the mythology of Robert Hart, a symbol of the failure of the Qing court to take full advantage of the Portadown native's wisdom. Hart's premise, encapsulated in the title, was that as an outsider to the Qing system he could see problems that insiders could not. ‘The true face of Mount Lu can only be seen in its entirety by one who stands away from it.’ But the memorandum, for all of its notoriety, was uncharacteristic of Hart.

AbstractIn late imperial China, an extremely small number of bureaucrats adopted corpse admonition (shijian尸諫) to protest with their death what they regarded as inadequacies or failings in the imperial structure. This article introduces the case of Wu Kedu 吳可讀, who killed himself to protest the designation, by the late Qing empress dowagers Ci'an and Cixi, of Guangxu as the emperor, and as the adopted son of Xianfeng and not as the heir to Tongzhi. The article argues that Wu Kedu's suicide, which was highly praised during and after its time, was an attempt to sway bureaucratic opinion to put a check on the arbitrary power of empress dowagers, but instead had the unintended consequence of reinforcing it. More importantly, Wu Kedu's corpse admonition was a precursor of the outpouring of voices of remonstrance over political issues at the turn of the twentieth century, leading to further development of the Chinese “constitutional agenda.”

Leta Hong Fincher: Leftover Women: The Resurgence of Gender Inequality in China. Zed Books Ldt, 2014Engebretsen, Elisabeth L.: Queer Women in Urban China: An Ethnography. New York and London: Routledge, 2014Jung Chang: Empress Dowager Cixi. The concubine who launched modern China. Alfred A. Knops. New York, 2013Nancy Fraser: Fortunes of Feminism. From State-Managed Capitalism to Neoliberal Crisis, Verso. London – New York. 2013

Jennifer Croll. Bad Girls of Fashion: Style Rebels from Cleopatra to Lady Gaga. Illustrated by Ada Buchholc. Annick Press, 2016.Vancouver journalist and fashion historian Jennifer Croll, author of Fashion that Changed the World (2014), has here shifted gears to acquaint younger readers with the role of fashion in the history of women’s empowerment and liberation. Through the lens of biography, Croll traces the gradual rise of Girl Power reflected in, and partly driven by, the fashion choices of forty women, all of them “Style Rebels.” She divides them into ten categories that include Leaders, Modernizers, Instigators, Gender-Benders, Radicals, Decadents, and Freaks.Egypt’s Queen Cleopatra VII and England’s Queen Elizabeth I crafted their regal images partly through their fashion choices; Cixi, the Dowager Empress of China, also outlawed the binding and deforming of girls’ feet; the excesses of Frances’s Queen Marie Antoinette helped to seal her doom; Amelia Bloomer and George Sand (aka Aurore Dupin) scandalized nineteenth-century society by shunning traditional women’s clothing; Coco Chanel replaced traditional corsetry and petticoats with comfortable fashions (and gave the world an eponymous perfume); fashion magazine editors Diana Vreeland and Anna Wintour reigned as arbiters (many said “dictators”) of late-twentieth-century fashion; artists as geographically and culturally diverse as Japan’s Yoko Ono and Rei Kawakubo and Mexico’s Frida Kahlo influenced fashion with their idiosyncratic styles; movie stars such as Louise Brooks, Marlene Dietrich, Marilyn Monroe, Diane Keaton, and Cher Bono became trend-setters in fashion by expanding acceptable boundaries of femininity and gender; while pop-star singers Madonna, Lady Gaga, Björk, Rihana, Nicki Minaj, Beth Ditto, and the ladies of Pussy Riot pushed still further the limits of attention-grabbing self-expression in their attire (or lack of it).Croll’s cast of characters is a large one—this is only a partial list—but one that she stage-manages adroitly. It’s also one that could have been considerably expanded; one notes, for example, the absence of such iconic, fashion trend-setters as Katherine Hepburn and pioneer aviator Amelia Earhart. Book designer Natalie Olsen has provided a stunning layout, one awash in bold colours, and illustrated with both photographs and original, caricature portraits by Polish illustrator Ada Buchholc. In this serious contribution to social history, the author neither shuns, nor sensationalizes, but treats lightly some of her subjects’ love affairs, marital infidelities, sexual preferences, and the role and influence of Lesbian fashions. These nonetheless mark this excellent book as one best suited to older, the publishers suggest ages 12+, and adult readers. Recommended for all public, high-school, and academic curriculum libraries, as well as specialized women’s studies collections.Highly Recommended: 4 out of 4 starsReviewer: Merrill Distad Historian and author Merrill Distad enjoyed a four-decade career building libraries and library collections.

Introduction Lillian Ng was born in Singapore and lived in Hong Kong and the United Kingdom before migrating to Australia with her daughter and Ah Mah Yin Jie (“Ah Mahs are a special group of people who took a vow to remain unmarried … [so they] could stick together as a group and make a living together” (Yu 118)). Ng studied classical Chinese at home, then went to an English school and later on studied Medicine. Her first book, Silver Sister (1994), was short-listed for the inaugural Angus & Robertson/Bookworld Prize in 1993 and won the Human Rights Award in 1995. Ng defines herself as a “Chinese living in Australia” (Yu 115). Food, flesh and meat are recurrent topics in Lillian Ng´s second novel Swallowing Clouds, published in 1997. These topics are related to desire and can be used as a synecdoche (a metaphor that describes part/whole relations) of the human body: food is needed to survive and pleasure can be obtained from other people´s bodies. This paper focuses on one type of meat and animal, pork and the pig, and on the relation between the two main characters, Syn and Zhu Zhiyee. Syn, the main character in the novel, is a Shanghainese student studying English in Sydney who becomes stranded after the Tiananmen Square massacre of June 1989. As she stops receiving money from her mother and fears repression if she goes back to China, she begins to work in a Chinese butcher shop, owned by Zhu Zhiyee, which brings her English lessons to a standstill. Syn and Zhu Zhiyee soon begin a two-year love affair, despite the fact that Zhu Zhiyee is married to KarLeng and has three daughters. The novel is structured as a prologue and four days, each of which has a different setting and temporal location. The prologue introduces the story of an adulterous woman who was punished to be drowned in a pig´s basket in the HuanPu River in the summer of 1918. As learnt later on, Syn is the reincarnation of this woman, whose purpose in life is to take revenge on men by taking their money. The four days, from the 4th to the 7th of June 1994, mark the duration of a trip to Beijing and Shanghai that Syn takes as member of an Australian expedition in order to visit her mother with the security of an Australian passport. During these four days, the reader learns about different Chinese landmarks, such as the Forbidden City, the Great Wall, the Ming Tomb and the Summer Palace, as well as some cultural events, such as a Chinese opera and eating typical foods like Peking duck. However, the bulk of the plot of the book deals with the sexual relationship, erotic games and fantasies of Syn and Zhu Zhiyee in the period between 1989 and 1992, as well as Syn´s final revenge in January 1993. Pigs The fact that Zhu Zhiyee is a butcher allows Lillian Ng to include references to pigs and pork throughout the novel. Some of them refer to the everyday work of a butcher shop, as the following examples illustrate: “Come in and help me with the carcass,” he [Zhu Zhiyee] pointed to a small suckling pig hung on a peg. Syn hesitated, not knowing how to handle the situation. “Take the whole pig with the peg,” he commanded (11).Under dazzling fluorescent tubes and bright spotlights, trays of red meat, pork chops and lamb cutlets sparkled like jewels … The trays edged with red cellophane frills and green underlay breathed vitality and colour into the slabs of pork ribs and fillets (15).Buckets of pig´s blood with a skim of froth took their place on the floor; gelled ones, like sliced cubes of large agate, sat in tin trays labelled in Chinese. More discreetly hidden were the gonads and penises of goats, bulls and pigs. (16)These examples are representative of Syn and Zhu Zhiyee´s relationship. The first quotation deals with their interaction: most of the time Zhu Zhiyee orders Syn how to act, either in the shop or in bed. The second extract describes the meat’s “vitality” and this is the quality of Syn's skin that mesmerised Zhu when he met her: “he was excited, electrified by the sight of her unblemished, translucent skin, unlined, smooth as silk. The glow of the warmth of human skin” (13). Moreover, the lights seem to completely illuminate the pieces of meat and this is the way Zhu Zhiyee leers at Syn´s body, as it can be read in the following extract: “he turned again to fix his gaze on Syn, which pierced and penetrated her head, her brain, eyes, permeated her whole body, seeped into her secret places and crevices” (14). The third excerpt introduces the sexual organs of some of the animals, which are sold to some customers for a high price. Meat is also sexualised by Zhu Zhiyee´s actions, such as his pinching the bottoms of chickens and comparing them with “sacrificial virgins”: “chickens, shamelessly stripped and trussed, hung by their necks, naked in their pimply white skin, seemed like sacrificial virgins. Syn often caught Zhu pinching their fleshy bottoms, while wrapping and serving them to the housewives” (15-16). Zhu also makes comments relating food with sex while he is having lunch next to Syn, which could be considered sexual harassment. All these extracts exemplify the relationship between Syn and Zhu Zhiyee: the orders, the looks and the implicit sexuality in the quotidian activities in the butcher´s shop. There are also a range of other expressions that include similes with the word `pig´ in Ng´s novel. One of the most recurrent is comparing the left arm and hand of Zhu Zhiyee´s mother with a “pig´s trotter”. Zhu Zhiyee´s mother is known as ZhuMa and Syn is very fond of her, as ZhuMa accepts her and likes her more than her own daughter-in-law. The comparison of ZhuMa´s arm and hand with a trotter may be explained by the fact that ZhuMa´s arm is swollen but also by the loving representation of pigs in Chinese culture. As Seung-Og Kim explains in his article “Burials, Pigs, and Political Prestige in Neolithic China”: In both Melanesia and Asia, pigs are viewed as a symbolic representation of human beings (Allen 1976: 42; Healey 1985; Rappaport 1967: 58; Roscoe 1989: 223-26). Piglets are treated as pets and receive a great deal of loving attention, and they in turn express affection for their human “parents.” They also share some physiological features with human beings, being omnivorous and highly reproductive (though humans do not usually have multiple litters) and similar internal anatomy (Roscoe 1989: 225). In short, pigs not only have a symbiotic relationship with humans biologically but also are of great importance symbolically (121). Consequently, pigs are held in high esteem, taken care of and loved. Therefore, comparing a part of a human´s body, such as an arm or a hand, for example, to a part of a pig´s body such as a pig´s trotter is not negative, but has positive connotations. Some descriptions of ZhuMa´s arm and hand can be read in the following excerpts: “As ZhuMa handed her the plate of cookies Syn saw her left arm, swollen like a pig´s trotter” (97); “Syn was horrified, and yet somewhat intrigued by this woman without a breast, with a pig´s trotter arm and a tummy like a chessboard” (99), “mimicking the act of writing with her pig-trotter hand” (99), and ZhuMa was praising the excellence of the opera, the singing, acting, the costumes, and the elaborate props, waving excitedly with her pig trotter arm and pointing with her stubby fingers while she talked. (170) Moreover, the expression “pig´s trotters” is also used as an example of the erotic fetishism with bound feet, as it can be seen in the following passage, which will be discussed below: I [Zhu Zhiyee] adore feet which are slender… they seem so soft, like pig´s trotters, so cute and loving, they play tricks on your mind. Imagine feeling them in bed under your blankets—soft cottonwool lumps, plump and cuddly, makes you want to stroke them like your lover´s hands … this was how the bound feet appealed to men, the erotic sensation when balanced on shoulders, clutched in palms, strung to the seat of a garden swing … no matter how ugly a woman is, her tiny elegant feet would win her many admirers (224).Besides writing about pigs and pork as part of the daily work of the butcher shop and using the expression “pig´s trotter”, “pig” is also linked to money in two sentences in the book. On the one hand, it is used to calculate a price and draw attention to the large amount it represents: “The blouse was very expensive—three hundred dollars, the total takings from selling a pig. Two pigs if he purchased two blouses” (197). On the other, it works as an adjective in the expression “piggy-bank”, the money box in the form of a pig, an animal that represents abundance and happiness in the Chinese culture: “She borrowed money from her neighbours, who emptied pieces of silver from their piggy-banks, their life savings”(54). Finally, the most frequent porcine expression in Ng´s Swallowing Clouds makes reference to being drowned in a pig´s basket, which represents 19 of the 33 references to pigs or pork that appear in the novel. The first three references appear in the prologue (ix, x, xii), where the reader learns the story of the last woman who was killed by drowning in a pig´s basket as a punishment for her adultery. After this, two references recount a soothsayer´s explanation to Syn about her nightmares and the fact that she is the reincarnation of that lady (67, 155); three references are made by Syn when she explains this story to Zhu Zhiyee and to her companion on the trip to Beijing and Shanghai (28, 154, 248); one refers to a feeling Syn has during sexual intercourse with Zhu Zhiyee (94); and one when the pig basket is compared to a cricket box, a wicker or wooden box used to carry or keep crickets in a house and listen to them singing (73). Furthermore, Syn reflects on the fact of drowning (65, 114, 115, 171, 172, 173, 197, 296) and compares her previous death with that of Concubine Pearl, the favourite of Emperor Guanxu, who was killed by order of his aunt, the Empress Dowager Cixi (76-77). The punishment of drowning in a pig´s basket can thus be understood as retribution for a transgression: a woman having an extra-marital relationship, going against the establishment and the boundaries of the authorised. Both the woman who is drowned in a pig´s basket in 1918 and Syn have extra-marital affairs and break society’s rules. However, the consequences are different: the concubine dies and Syn, her reincarnation, takes revenge. Desire, Transgression and Eroticism Xavier Pons writes about desire, repression, freedom and transgression in his book Messengers of Eros: Representations of Sex in Australian Writing (2009). In this text, he explains that desire can be understood as a positive or as a negative feeling. On the one hand, by experiencing desire, a person feels alive and has joy de vivre, and if that person is desired in return, then, the feelings of being accepted and happiness are also involved (13). On the other hand, desire is often repressed, as it may be considered evil, anarchic, an enemy of reason and an alienation from consciousness (14). According to Pons: Sometimes repression, in the form of censorship, comes from the outside—from society at large, or from particular social groups—because of desire´s subversive nature, because it is a force which, given a free rein, would threaten the higher purpose which a given society assigns to other (and usually ideological) forces … Repression may also come from the inside, via the internalization of censorship … desire is sometimes feared by the individual as a force alien to his/her true self which would leave him/her vulnerable to rejection or domination, and would result in loss of freedom (14).Consequently, when talking about sexual desire, the two main concepts to be dealt with are freedom and transgression. As Pons makes clear, “the desiring subject can be taken advantage of, manipulated like a puppet [as h]is or her freedom is in this sense limited by the experience of desire” (15). While some practices may be considered abusive, such as bondage or sado-masochism, they may be deliberately and freely chosen by the partners involved. In this case, these practices represent “an encounter between equals: dominance is no more than make-believe, and a certain amount of freedom (as much as is compatible with giving oneself up to one´s fantasies) is maintained throughout” (24). Consequently, the perception of freedom changes with each person and situation. What is transgressive depends on the norms in every culture and, as these evolve, so do the forms of transgression (Pons 43). Examples of transgressions can be: firstly, the separation of sex from love, adultery or female and male homosexuality, which happen with the free will of the partners; or, secondly, paedophilia, incest or bestiality, which imply abuse. Going against society’s norms involves taking risks, such as being discovered and exiled from society or feeling isolated as a result of a feeling of difference. As the norms change according to culture, time and person, an individual may transgress the rules and feel liberated, but later on do the same thing and feel alienated. As Pons declares, “transgressing the rules does not always lead to liberation or happiness—transgression can turn into a trap and turn out to be simply another kind of alienation” (46). In Swallowing Clouds, Zhu Zhiyee transgresses the social norms of his time by having an affair with Syn: firstly, because it is extra-marital, he and his wife, KarLeng, are Catholic and fidelity is one of the promises made when getting married; and, secondly, because he is Syn´s boss and his comments and ways of flirting with her could be considered sexual harassment. For two years, the affair is an escape from Zhu Zhiyee´s daily worries and stress and a liberation and fulfillment of his sexual desires. However, he introduces Syn to his mother and his sisters, who accept her and like her more than his wife. He feels trapped, though, when KarLeng guesses and threatens him with divorce. He cannot accept this as it would mean loss of face in their neighbourhood and society, and so he decides to abandon Syn. Syn´s transgression becomes a trap for her as Zhu, his mother and his sisters have become her only connection with the outside world in Australia and this alienates her from both the country she lives in and the people she knows. However, Syn´s transgression also turns into a trap for Zhu Zhiyee because she will not sign the documents to give him the house back and every month she sends proof of their affair to KarLeng in order to cause disruption in their household. This exposure could be compared with the humiliation suffered by the concubine when she was paraded in a pig´s basket before she was drowned in the HuangPu River. Furthermore, the reader does not know whether KarLeng finally divorces Zhu Zhiyee, which would be his drowning and loss of face and dishonour in front of society, but can imagine the humiliation, shame and disgrace KarLeng makes him feel every month. Pons also depicts eroticism as a form of transgression. In fact, erotic relations are a power game, and seduction can be a very effective weapon. As such, women can use seduction to obtain power and threaten the patriarchal order, which imposes on them patterns of behaviour, language and codes to follow. However, men also use seduction to get their own benefits, especially in political and social contexts. “Power has often been described as the ultimate aphrodisiac” (Pons 32) and this can be seen in many of the sexual games between Syn and Zhu Zhiyee in Swallowing Clouds, where Zhu Zhiyee is the active partner and Syn becomes little more than an object that gives pleasure. A clear reference to erotic fetishism is embedded in the above-mentioned quote on bound feet, which are compared to pig´s trotters. In fact, bound feet were so important in China in the millennia between the Song Dynasty (960-1276) and the early 20th century that “it was impossible to find a husband” (Holman) without them: “As women’s bound feet and shoes became the essence of feminine beauty, a fanatical aesthetic and sexual mystique developed around them. The bound foot was understood to be the most intimate and erotic part of the female anatomy, and wives, consorts and prostitutes were chosen solely on the size and shape of their feet” (Holman). Bound feet are associated in Ng’s novel with pig´s trotters and are described as “cute and loving … soft cottonwool lumps, plump and cuddly, [that] makes you want to stroke them like your lover´s hands” (224). This approach towards bound feet and, by extension, towards pig´s trotters, can be related to the fond feelings Melanesian and Asian cultures have towards piglets, which “are treated as pets and receive a great deal of loving attention” (Kim 121). Consequently, the bound feet can be considered a synecdoche for the fond feelings piglets inspire. Food and Sex The fact that Zhu Zhiyee is a butcher and works with different types of meat, including pork, that he chops it, sells it and gives cooking advice, is not gratuitous in the novel. He is used to being in close proximity to meat and death and seeing Syn’s pale skin through which he can trace her veins excites him. Her flesh is alive and represents, therefore, the opposite of meat. He wants to seduce her, which is human hunting, and he wants to study her, to enjoy her body, which can be compared to animals looking at their prey and deciding where to start eating from. Zhu´s desire for Syn seems destructive and dangerous. In the novel, bodies have a price: dead animals are paid for and eaten and their role is the satiation of human hunger. But humans, who are also animals, have a price as well: flesh is paid for, in the form of prostitution or being a mistress, and its aim is satiation of human sex. Generally speaking, sex in the novel is compared to food either in a direct or an indirect way, and making love is constantly compared to cooking, the preparation of food and eating (as in Pons 303). Many passages in Swallowing Clouds have cannibalistic connotations, all of these being used as metaphors for Zhu Zhiyee’s desire for Syn. As mentioned before, desire can be positive (as it makes a person feel alive) or negative (as a form of internal or social censorship). For Zhu Zhiyee, desire is positive and similar to a drug he is addicted to. For example, when Zhu and Syn make delivery rounds in an old Mazda van, he plays the recordings he made the previous night when they were having sex and tries to guess when each moan happened. Sex and Literature Pons explains that “to write about sex … is to address a host of issues—social, psychological and literary—which together pretty much define a culture” (6). Lillian Ng´s Swallowing Clouds addresses a series of issues. The first of these could be termed ‘the social’: Syn´s situation after the Tiananmen Massacre; her adulterous relationship with her boss and being treated and considered his mistress; the rapes in Inner Mongolia; different reasons for having an abortion; various forms of abuse, even by a mother of her mentally handicapped daughter; the loss of face; betrayal; and revenge. The second issue is the ‘psychological’, with the power relations and strategies used between different characters, psychological abuse, physical abuse, humiliation, and dependency. The third is the ‘literary’, as when the constant use of metaphors with Chinese cultural references becomes farcical, as Tseen Khoo notes in her article “Selling Sexotica” (2000: 164). Khoo explains that, “in the push for Swallowing Clouds to be many types of novels at once: [that is, erotica, touristic narrative and popular], it fails to be any one particularly successfully” (171). Swallowing Clouds is disturbing, full of stereotypes, and with repeated metaphors, and does not have a clear readership and, as Khoo states: “The explicit and implicit strategies behind the novel embody the enduring perceptions of what exotic, multicultural writing involves—sensationalism, voyeuristic pleasures, and a seemingly deliberate lack of rooted-ness in the Australian socioscape (172). Furthermore, Swallowing Clouds has also been defined as “oriental grunge, mostly because of the progression throughout the narrative from one gritty, exoticised sexual encounter to another” (Khoo 169-70).Other novels which have been described as “grunge” are Edward Berridge´s Lives of the Saints (1995), Justine Ettler´s The River Ophelia (1995), Linda Jaivin´s Eat Me (1995), Andrew McGahan´s Praise (1992) and 1988 (1995), Claire Mendes´ Drift Street (1995) or Christos Tsiolkas´ Loaded (1995) (Michael C). The word “grunge” has clear connotations with “dirtiness”—a further use of pig, but one that is not common in the novel. The vocabulary used during the sexual intercourse and games between Syn and Zhu Zhiyee is, however, coarse, and “the association of sex with coarseness is extremely common” (Pons 344). Pons states that “writing about sex is an attempt to overcome [the barriers of being ashamed of some human bodily functions], regarded as unnecessarily constrictive, and this is what makes it by nature transgressive, controversial” (344-45). Ng´s use of vocabulary in this novel is definitely controversial, indeed, so much so that it has been defined as banal or even farcical (Khoo 169-70).ConclusionThis paper has analysed the use of the words and expressions: “pig”, “pork” and “drowning in a pig’s basket” in Lillian Ng´s Swallowing Clouds. Moreover, the punishment of drowning in a pig’s basket has served as a means to study the topics of desire, transgression and eroticism, in relation to an analysis of the characters of Syn and Zhu Zhiyee, and their relationship. This discussion of various terminology relating to “pig” has also led to the study of the relationship between food and sex, and sex and literature, in this novel. Consequently, this paper has analysed the use of the term “pig” and has used it as a springboard for the analysis of some aspects of the novel together with different theoretical definitions and concepts. Acknowledgements A version of this paper was given at the International Congress Food for Thought, hosted by the Australian Studies Centre at the University of Barcelona in February 2010. References Allen, Bryan J. Information Flow and Innovation Diffusion in the East Sepic District, Papua New Guinea. PhD diss. Australian National University, Australia. 1976. Berridge, Edward. Lives of the Saints. St Lucia: U of Queensland P, 1995. C., Michael. “Toward a sound theory of Australian Grunge fiction.” [Weblog entry] Eurhythmania. 5 Mar. 2008. 4 Oct. 2010 http://eurhythmania.blogspot.com/2008/03/toward-sound-theory-of-australian.html. Ettler, Justine. The River Ophelia. Sydney: Picador, 1995. Healey, Christopher J. “Pigs, Cassowaries, and the Gift of the Flesh: A Symbolic Triad in Maring Cosmology.” Ethnology 24 (1985): 153-65. Holman, Jeanine. “Bound Feet.” Bound Feet: The History of a Curious, Erotic Custom. Ed. Joseph Rupp 2010. 11 Aug. 2010. http://www.josephrupp.com/history.html. Jaivin, Linda. Eat Me. Melbourne: The Text Publishing Company, 1995. Khoo, Tseen. “Selling Sexotica: Oriental Grunge and Suburbia in Lillian Ngs’ Swallowing Clouds.” Diaspora: Negotiating Asian-Australian. Ed. Helen Gilbert, Tseen Khoo, and Jaqueline Lo. St Lucia: U of Queensland P, 2000. 164-72. Khoo, Tseen; Danau Tanu, and Tien. "Re: Of pigs and porks” 5-9 Aug. 1997. Asian- Australian Discussion List Digest numbers 1447-1450. Apr. 2010 . Kim, Seung-Og. “Burials, Pigs, and Political Prestige in Neolithic China.” Current Anthopology 35.2 (Apr. 1994): 119-141. McGahan, Andrew. Praise. Sydney: Allen & Unwin, 1992. McGahan, Andrew. 1988. Sydney: Allen & Unwin, 1995. Mendes, Clare. Drift Street. Pymble: HarperCollins, 1995. Ng, Lillian. Swallowing Clouds. Ringwood: Penguin Books Australia,1997. Pons, Xavier. Messengers of Eros. Representations of Sex in Australian Writing. Newcastle upon Tyne: Cambridge Scholars Publishing, 2009. Rappaport, Roy. Pigs for the Ancestors. New Have: Yale UP, 1967. Roscoe, Paul B. “The Pig and the Long Yam: The Expansion of the Sepik Cultural Complex”. Ethnology 28 (1989): 219-31. Tsiolkas, Christos. Loaded. Sydney: Vintage, 1995. Yu, Ouyang. “An Interview with Lillian Ng.” Otherland Literary Journal 7, Bastard Moon. Essays on Chinese-Australian Writing (July 2001): 111-24.