Download Free Desire And Fictional Narrative In Late Imperial China Book in PDF and EPUB Free Download. You can read online Desire And Fictional Narrative In Late Imperial China and write the review.

"In this new study of desire in Late Imperial China, Martin Huang argues that the development of traditional Chinese fiction as a narrative genre was closely related to changes in conceptions of the fundamental nature of desire. He further suggests that the rise of vernacular fiction during the late Ming dynasty should be studied in the context of contemporary debates on desire, along with the new and complex views that emerged from those debates.Desire and Fictional Narrative in Late Imperial China shows that the obsession of authors with individual desire is an essential quality that defines traditional Chinese fiction as a narrative genre. Thus the maturation of the genre can best be appreciated in terms of its increasingly sophisticated exploration of the phenomenon of desire."
In the West, love occupies center stage in the modern age, whether in art, intellectual life, or the economic life. We may observe a similar development in China, on its own impetus, which has resulted in this characteristic of modernity--this feature of modern life has been securely and unambiguously established, not the least facilitated by the thriving of literature about qing, whether in traditional or modern forms. Qiancheng Li concentrates on the nuances of a similar trend manifested in the Chinese context. The emphasis is on critical readings of the texts that have shaped this trend, including important Ming- and Qing-dynasty works of drama, Buddhist texts and other religious/philosophical works, in all their subtlety and evocative power. "The power of qing or strong emotion is a major theme in late imperial Chinese literature--some writers asserting that it can transcend even life itself. Qiancheng Li surveys a number of seventeenth-century philosophical, religious, and literary texts to elucidate the metaphysical aspects of emotional attachment and of sexual desire in particular. Through his broad and penetrating reading, Li demonstrates incontrovertibly how, to seventeenth-century writers, qing and religion were inextricably linked. To those writers, qing could bring enlightenment, and certainly Li’s study enlightens its readers to new levels of complexity in major literary works of that period. Transmutations of Desire sets a major new milestone in the study of traditional Chinese culture."--Robert E. Hegel, Washington University in St. Louis
The contributors to Wanton Women in Late-Imperial Chinese Literature: Models, Genres, Subversions and Traditions draw attention to ‘wanton woman’ themes across time as they were portrayed in court history (McMahon), fiction (Stevenson), drama (Lam, Wu), and songs and ballads (Ôki, Epstein, McLaren). Looking back, the essays challenge us with views of sexual transgression that are more heterogeneous than modern popular focus on Pan Jinlian would suggest. Central among the many insights to be found is that despite gender performance in Chinese history being overwhelmingly determined by the needs of patriarchal authority, men and women in the late imperial period discovered diverse ways in which to reflect on how men constantly sought their own bearings in reference to women.
"In the traditional Chinese symbolic vocabulary, the construction of gender was never far from debates about ritual propriety, desire, and even cosmic harmony. Competing Discourses maps the aesthetic and semantic meanings associated with gender in the Ming–Qing vernacular novel through close readings of five long narratives: Marriage Bonds to Awaken the World, Dream of the Red Chamber, A Country Codger’s Words of Exposure, Flowers in the Mirror, and A Tale of Heroic Lovers. Maram Epstein argues that the authors of these novels manipulated gendered terms to achieve structural coherence. These patterns are, however, frequently at odds with other gendered structures in the texts, and authors exploited these conflicts to discuss the problem of orthodox behavior versus the cult of feeling."
Chinese strange tale collections contain short stories about ghosts and animal spirits, supra-human heroes and freaks, exotic lands and haunted homes, earthquake and floods, and other perceived “anomalies” to accepted cosmic and social norms. As such, this body of literature is a rich repository of Chinese myths, folklore, and unofficial “histories”. These collections also reflect Chinese attitudes towards normalcy and strangeness, perceptions of civilization and barbarism, and fantasies about self and other. Inspired in part by Freud’s theory of the uncanny, this book explores the emotive subtexts of late imperial strange tale collections to consider what these stories tell us about suppressed cultural anxieties, the construction of gender, and authorial self-identity.
This is the first interdisciplinary effort to study friendship in late imperial China from the perspective of gender history. Friendship was valorized with unprecedented enthusiasm in Ming China (1368-1644). Some Ming literati even proposed that friendship was the most fundamental relationship among the so-called "five cardinal human relationships". Why the cult of friendship in Ming China? How was male friendship theorized, practiced and represented during that period? These are some of the questions the current volume deals with. Coming from different disciplines (history, musicology and literary studies), the contributors thoroughly explore the complexities and the gendered nature of friendship in Ming China. This volume has also been published as a special theme issue of Brill's journal NAN NÜ, Men, Women and Gender in China.
My dissertation explores fictional medical narratives in late imperial China by focusing on representations of sickness, with particular attention to the patient. I argue that these fictional medical narratives produced a unique representation of sickness in terms of the patient's subjective experience of an identity crisis. Through various patients' individual experiences in fictional medical narratives, it can be seen that "sickness" indicates not only an unhealthy state, but also a process that uncovers disorders of family, ethics, and power structures, and can lead to the remaking of social identities and interpersonal relationships. As the rise of vernacular fiction as a narrative genre during the late Ming was closely related to the contemporary obsession with individual desire, the study of fictional medical narrative will help us understand and contextualize the new emphasis on the value of the individual. This dissertation takes fictional representations of sickness as a lens through which the tension between patients' subjectivity and socially normative models is made manifest. I define the medical narrative in Ming-Qing vernacular fiction as a story that focuses on a character's experience of illness and on the way illness influences the character's social life and interpersonal relationships. In other words, it is the existence and the experience of the patient that constitutes the central feature of fictional medical narratives. Around the existence and the experience of the patient, the other characters have various responses and perform various roles, thereby contributing to the construction of the patient as a distinct type of character. We can conclude that these vernacular stories reflect the humanization of medicine, transforming the typology of patients in non-fictional medical narrative into various descriptions of patients as "whole persons in contexts and relations." Fictional medical narratives reflect a more complex understanding of the cause, progress, and result of the sickness, revealing how patients' experiences of suffering go beyond physical symptoms, diagnoses, and treatment. Therefore, fictional medical narratives formulate and convey contemporary understandings of the social meanings of illness in a way not found in other kinds of texts.
Rulin waishi (The Unofficial History of the Scholars) is more than a landmark in the history of the Chinese novel. This eighteenth-century work, which was deeply embedded in the intellectual and literary discourses of its time, challenges the reader to come to grips with the mid-Qing debates over ritual and ritualism, and the construction of history, narrative, and lyricism. Wu Jingzi’s (1701–54) ironic portrait of literati life was unprecedented in its comprehensive treatment of the degeneration of mores, the predicaments of official institutions, and the Confucian elite’s futile struggle to reassert moral and cultural authority. Like many of his fellow literati, Wu found the vernacular novel an expressive and malleable medium for discussing elite concerns. Through a close reading of Rulin waishi, Shang Wei seeks to answer such questions as What accounts for the literati’s enthusiasm for writing and reading novels? Does this enthusiasm bespeak a conscious effort to develop a community of critical discourse outside the official world? Why did literati authors eschew publication? What are the bases for their social and cultural criticisms? How far do their criticisms go, given the authors’ alleged Confucianism? And if literati authors were interested solely in recovering moral and cultural hegemony for their class, how can we explain the irony found in their works?
In this fascinating, multidisciplinary volume, scholars of Chinese history, law, literature, and religions explore the intersections of legal practice with writing in many different social contexts. They consider the overlapping concerns of legal culture and the arts of crafting persuasive texts in a range of documents including crime reports, legislation, novels, prayers, and law suits. Their focus is the late Ming and Qing periods (c. 1550-1911); their documents range from plaints filed at the local level by commoners, through various texts produced by the well-to-do, to the legal opinions penned by China's emperors. Writing and Law in Late Imperial China explores works of crime-case fiction, judicial handbooks for magistrates and legal secretaries, popular attitudes toward clergy and merchants as reflected in legal plaints, and the belief in a parallel, otherworldly judicial system that supports earthly justice.
Why did traditional Chinese literati so often identify themselves with women in their writing? What can this tell us about how they viewed themselves as men and how they understood masculinity? How did their attitudes in turn shape the martial heroes and other masculine models they constructed? Martin Huang attempts to answer these questions in this valuable work on manhood in late imperial China. He focuses on the ambivalent and often paradoxical role played by women and the feminine in the intricate negotiating process of male gender identity in late imperial cultural discourses. Two common strategies for constructing and negotiating masculinity were adopted in many of the works examined here. The first, what Huang calls the strategy of analogy, constructs masculinity in close association with the feminine; the second, the strategy of differentiation, defines it in sharp contrast to the feminine. In both cases women bear the burden as the defining "other." In this study, "feminine" is a rather broad concept denoting a wide range of gender phenomena associated with women, from the politically and socially destabilizing to the exemplary wives and daughters celebrated in Confucian chastity discourse.