Relevant bibliographies by topics / Women poets, Chinese Chinese poetry Chinese poetry

Contents

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

Academic literature on the topic 'Women poets, Chinese Chinese poetry Chinese poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Women poets, Chinese Chinese poetry Chinese poetry"

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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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Yun, Hye‑ji. "A Study on the Mourning Poetry of Chinese Woman Poets in the Ming Dynasty." Journal of Chinese Studies 91 (February 28, 2020): 163–205. http://dx.doi.org/10.36493/jcs.91.6.

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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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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. "Fashioning Voices of Their Own: Three Ming-Qing Women Writers’ Uses of Qu Yuan’s Persona and Poetry." Nan Nü 16, no. 1 (September 10, 2014): 59–90. http://dx.doi.org/10.1163/15685268-00161p03.

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This article explores how, during the Ming-Qing era, women writers used the persona and poetry of the great Chinese poet Qu Yuan (340?-278 bce). In order to establish the authority of their own voices, marginalized female writers often identified themselves with the mainstream male tradition. The legacy of Qu Yuan became one of their favorite examples to follow. Qu Yuan’s sao-style poems, especially the long poem “Encountering Sorrow,” are classics in the Chinese literary canon. Qu Yuan’s high moral standard and his eventual suicide for a just cause earned him a reputation as a patriotic poet-statesman much respected by later generations. Ming-Qing women writers made use of Qu Yuan’s literary and moral authority to create their own personal, political, and intellectual voices. By doing so, they demonstrated their efforts to upgrade their status in literary and social arenas.
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Gong, Heng Xing. "Li Qingzhao and A. P. Bunina: difficult fates of women’s poetry." Litera, no. 8 (August 2021): 81–96. http://dx.doi.org/10.25136/2409-8698.2021.8.36313.

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Despite the fact that Li Qingzhao and Anna Petrovna Bunina were bound by neither geographical affiliation or time, their contemporaries called them the Chinese and Russian Sappho. This is substantiated by the consonance of their poems with the lyrics of the Ancient Greek poetess, sensuality of their poems, as well as their independent position atypical for the women of their eras. This article draws parallels between the biographies of the two prominent poetesses, each of whom is considered the founder of women's poetry in their homeland. Although both poetesses are widely known and considered the pioneers of women's literature, their works are compared virtually for the first time. Besides the high social status and good education, the poetesses are interrelated by the fact that their fates transgressed the traditional canon of women's behavior: instead of patriarchal family life, they have chosen creative self-realization. The uniqueness of their position, which placed them in the focus of public attention, and in a way made them pariahs, on the other hand gave them the freedom in choosing problematic and literary language. This allowed them to become the founders of women's poetry and develop their own literary style. Namely this circumstance typologically apposes the works of the two poetesses, which are eight centuries apart from each other. The theme of their poetry is remarkably similar; however, the imagery differs significantly, since it is justified by the literary tradition of their country.
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Hwang, Dong-won. "Phonology Study of Chinese Poetry in ‘Ikkyukantobanashi’ : Focus on poems about Love, Sexual Organs of men and women, Fleas and New Year’s Morning." Journal of Japanology 46 (May 31, 2018): 277–94. http://dx.doi.org/10.21442/djs.2018.46.13.

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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.
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Litvinova, Olga N. "Chinese Gretchen in Russian Literature: on the Genesis and Attribution of M. Shkapskaya’s Poetry Book Tsa-Tsa-Tsa." RUDN Journal of Studies in Literature and Journalism 26, no. 2 (December 15, 2021): 177–87. http://dx.doi.org/10.22363/2312-9220-2021-26-2-177-187.

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This article examines in detail Maria Shkapskayas poetry book Tsa-Tsa- Tsa (1923) and its handwritten genesis. It explains the role and significance of ancient Chinese poetry for this literary piece of work. The problem is to attribute the texts that make up the book and find out their translated or stylized basis. The general thesis is that all the poetic texts of the book are translations: the names of Tao-Yuan-Ming, Du Fu, and Bo-Juyi indicated by Shkapskaya in the manuscripts are reported. One of the texts in the book is attributed as the Sixth Poem from the Shi ju gu shi ( Nineteen Ancient Poems ). The removal of the names of Chinese authors (not only in the book published in 1923 but also in the manuscript of 1921) and the alignment of the thematic word series silk, crane, thousand, spring that organize the book into a single text indicate a tendency to blur the border of the own-alien text (even though the book was treated by the author as translation from the Chinese, in autobiographies and correspondence). This trend leads to the appearance of a central artistic image of the book (it is a feature of M. Shkapskayas poetic books). It is the image of a lonely, longing woman. The mention of the spinning wheel connects this image with the popular (especially in Western European literature) image of Gretchen. This way the poetry book Tsa-Tsa-Tsa goes beyond the narrowly translated work and reveals some features of chronologically later literary trends (such as postmodernism and metapoesis).
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Wang, Yong, and Olga V. Vinogradova. "Contemporary Chinese poetry and Russian modernist and postmodernist poetry: influence and analogy." RUDN Journal of Studies in Literature and Journalism 24, no. 4 (December 15, 2019): 704–12. http://dx.doi.org/10.22363/2312-9220-2019-24-4-704-712.

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For the last thirty years, Chinese poetry mostly has been well-known for three schools, namely: “Misty Poetry”, “Intellectual Writing”, and “Folk Writing”. Russian poets of diff erent periods were among those who had a notable impact on the works of Chinese poets. Russian lyric poets praising freedom, love, and relationships with nature became the main source of inspiration for “misty” poets. “Intellectual” poets felt their being close to the Russian Silver Age poets: A. Akhmatova, A. Blok, B. Pasternak, M. Tsvetaeva. Their poems include examples of direct addressing to them. “Folk” poets created an enormous and diverse area of postmodernist poetic texts, which is in sync with Russian poets of postmodernism. In the fi rst part of the article, the authors review the contemporary Russian poetry, in particular the “second avant-garde” poetry, in relation with the contemporary Chinese poetry that was “moved in time” for some decades, but came across the same processes of rising and the dialogue with society (sometimes provocative), with the world poetry, processes of introspection and experimental search. The second part of the article deals with the aspects of infl uence, made by Russian poets of different periods upon Chinese poetry, and with the issues of further development of contemporary Chinese poetry.
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Dissertations / Theses on the topic "Women poets, Chinese Chinese poetry Chinese poetry"

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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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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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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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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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戚本盛 and Pun-shing Babie Chik. "A study of Dai Wangshu's poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31210739.

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張為群 and Wai-kwan Cheung. "The monk-poets of the mid-Tang period." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31220617.

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戴穗華 and Sui-hua Dai. "A critical study of the poetry of Xu Hun (788-867?)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225925.

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Zhu, Shaozhang. "Xian dai xin shi ren jiu ti shi yan jiu = Study of Chinese classical poetry written by modern Chinese poets /." click here to view the abstract and table of contents, 2002. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17563586a.pdf.

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Books on the topic "Women poets, Chinese Chinese poetry Chinese poetry"

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Hunan nü shi shi chao. Changsha: Hunan ren min chu ban she, 2010.

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Jade mirror: Women poets of China. Buffalo, NY: White Pine Press, 2013.

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Liang an nü xing shi ge san shi jia. Taibei Xian Xindian Shi: Shi yi wen chuʻu ban she, 2000.

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Nü xing shi xue: Taiwan xian dai nü shi ren ji ti yan jiu, 1951-2000. Taibei Shi: Nü shu wen hua shi ye you xian gong si, 2000.

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Anhui ming yuan shi ci zheng lue. Hefei Shi: Huangshan shu she, 1986.

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Meng long, qing ming yu liu dong: Lun Taiwan xian dai nü xing shi zuo zhong de nü xing zhu ti. Taibei Shi: Wan juan lou tu shu you xian gong si, 2002.

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Ming mo Qing chu nü ci ren yan jiu. Beijing: Shou du shi fan da xue chu ban she, 2008.

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Ming mo Qing chu nü ci ren yan jiu. Beijing: Shou du shi fan da xue chu ban she, 2008.

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1950-, Li Huoren, ed. Nü xing de zhu ti xing: Song dai de shi ge yu xiao shuo = Feminine subjectivity : poetry and fiction of the Song period. Taibei Shi: Da an chu ban she, 2001.

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Xian dai Zhongguo Musi: Taiwan nü shi ren zuo pin xi lun. Taibei Shi: Lian jing chu ban shi ye gong si, 1989.

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Book chapters on the topic "Women poets, Chinese Chinese poetry Chinese poetry"

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"Chapter Four. Hidden poets and poetry groupings." In A History of Contemporary Chinese Literature, 64–75. BRILL, 2007. http://dx.doi.org/10.1163/ej.9789004157545.i-636.22.

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"List of Poets With Editions Used." In The Cumbia Book of Later Chinese Poetry, edited by Jonathan Chavez, 477–82. New York Chichester, West Sussex: Columbia University Press, 1986. http://dx.doi.org/10.7312/chav93222-007.

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"Index of Poets in Alphabetical Order." In The Cumbia Book of Later Chinese Poetry, edited by Jonathan Chavez, 483–512. New York Chichester, West Sussex: Columbia University Press, 1986. http://dx.doi.org/10.7312/chav93222-008.

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"12. Tang Women at the Public/Private Divide." In How to Read Chinese Poetry in Context, 185–204. Columbia University Press, 2018. http://dx.doi.org/10.7312/cai-18536-018.

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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.

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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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Jaguścik, Justyna. "In Search of Spaces of Their Own: Woolf, Feminism and Women’s Poetry From China." In The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature, 314–31. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448475.003.0018.

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This chapter discusses the traveling of Woolf's writing, especially A Room of One's Own, into twentieth-century China. It argues, that since 1928, when this text had first been discussed by Xu Zhimo, A Room has remained an important point of reference in the Chinese-language feminist theory and literature. Particularly in post-Mao China, many female authors have been inspired by Woolf's spatial metaphoric and her reflections on female authorship. This chapter proposes close readings of poems and essays by Chinese contemporary female poets, such as Lu Yimin, Wang Xiaoni, Zhai Yongming and Zhang Zhen. It demonstrates that Woolf’s ideas have reverberated throughout works by the most innovative avant-garde female poets of the post-Mao era.
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Wang, David Der-wei. "Six Modernist Poets in Search of Du Fu." In Reading Du Fu, 143–64. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528448.003.0010.

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Conventional wisdom has it that Chinese modernism arose as part of the May Fourth literary reform, a movement purportedly predicated on radical anti-traditionalism. The fact that Du Fu is the “author” worshiped by multiple modern Chinese poets during the past century prods us to reconsider the motivations of Chinese literary modernity. Their “search” for the ancient “sage of poetry” not only points to a unique dialogical relationship between the moderns and a premodern “author” but also offers an important clue to the genealogy of Chinese literary modernity. The way in which Chinese modernists have continually treated Du Fu as a source of inspiration, finding in him a kindred spirit, is a highly intriguing phenomenon. This essay introduces six modernist Chinese and Sinophone poets in search of Du Fu—Huang Canran 黃燦然‎, Xi Chuan 西川‎, Wai-lim Yip 葉維廉‎, Xiao Kaiyu 蕭開愚‎, Luo Fu 洛夫‎, and Luo Qing 羅青‎—along with their aspirations and conjurations, appropriations and revisions.
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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.

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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.
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Fraleigh, Matthew. "Reconstructing Sino-Japanese Friendship: East Asian Literary Camaraderie in Postwar Japan’s Sinitic Poetry Scene." In In the Ruins of the Japanese Empire, 204–22. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528288.003.0010.

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In the pages of the journal Friends in Elegance, launched in May 1951, Japanese and Chinese literary figures envisioned restoring the harmony of regional amity through the shared heritage of Sinitic poetry. Focusing on figures such as the Sinological Imezaki Tenpō, this chapter restores the vision of a literary Sinosphere, one untouched by war and violence, and transcending empire and Cold War. With a deft touch Mathew Fraleigh delves through the work of Sinitic poets including Miura Eiran, Kokubu Seigai and Mori Kaisan and traces the attempt to foster Sino-Japanese friendship through a shared cultural inheritance. One, in which expressions of benevolence, celebrations of peace held open the possibilities of a regional unity transcending the Cold War. Ending on an elegiac moment of hope, the chapter points to how a shared literary landscape might once again provide a realm of cooperation beyond politics and force of arms.
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Conference papers on the topic "Women poets, Chinese Chinese poetry Chinese poetry"

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Lee, Yuk Yee Karen, and Kin Yin Li. "THE LANDSCAPE OF ONE BREAST: EMPOWERING BREAST CANCER SURVIVORS THROUGH DEVELOPING A TRANSDISCIPLINARY INTERVENTION FRAMEWORK IN A JIANGMEN BREAST CANCER HOSPITAL IN CHINA." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact003.

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Abstract:
"Breast cancer is a major concern in women’s health in Mainland China. Literatures demonstrates that women with breast cancer (WBC) need to pay much effort into resisting stigma and the impact of treatment side-effects; they suffer from overwhelming consequences due to bodily disfigurement and all these experiences will be unbeneficial for their mental and sexual health. However, related studies in this area are rare in China. The objectives of this study are 1) To understand WBC’s treatment experiences, 2) To understand what kinds of support should be contained in a transdisciplinary intervention framework (TIP) for Chinese WBC through the lens that is sensitive to gender, societal, cultural and practical experience. In this study, the feminist participatory action research (FPAR) approach containing the four cyclical processes of action research was adopted. WBC’s stories were collected through oral history, group materials such as drawings, theme songs, poetry, handicraft, storytelling, and public speech content; research team members and peer counselors were involved in the development of the model. This study revealed that WBC faces difficulties returning to the job market and discrimination, oppression and gender stereotypes are commonly found in the whole treatment process. WBC suffered from structural stigma, public stigma, and self-stigma. The research findings revealed that forming a critical timeline for intervention is essential, including stage 1: Stage of suspected breast cancer (SS), stage 2: Stage of diagnosis (SD), stage 3: Stage of treatment and prognosis (ST), and stage 4: Stage of rehabilitation and integration (SRI). Risk factors for coping with breast cancer are treatment side effects, changes to body image, fear of being stigmatized both in social networks and the job market, and lack of personal care during hospitalization. Protective factors for coping with breast cancer are the support of health professionals, spouses, and peers with the same experience, enhancing coping strategies, and reduction of symptom distress; all these are crucial to enhance resistance when fighting breast cancer. Benefit finding is crucial for WBC to rebuild their self-respect and identity. Collaboration is essential between 1) Health and medical care, 2) Medical social work, 3) Peer counselor network, and 4) self-help organization to form the TIF for quality care. The research findings are crucial for China Health Bureau to develop medical social services through a lens that is sensitive to gender, societal, cultural, and practical experiences of breast cancer survivors and their families."
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