Download Free Lost Bodies Prostitution And Masculinity In Chinese Fiction Book in PDF and EPUB Free Download. You can read online Lost Bodies Prostitution And Masculinity In Chinese Fiction and write the review.

This important contribution to the study of early modern Chinese fiction and representation of gender relations focuses on literary representations of the prostitute produced in the Ming and Qing periods. Following her heavily symbolic body, the present work maps this fictional heroine's journey from innocence to sex-work and beyond. This crucial angle allows the author to paint a picture of gender identity, sexuality, and desire that is at once unitary and multi-layered, and that comes to illuminate some of the major themes in the construction of Chinese modernity.
Sporting Gender is the first book to explore the rise to fame of female athletes in China during its national crisis of 1931-45 brought on by the Japanese invasion. By re-mapping lives and careers of these athletes, administrators, and film actors within a wartime context, Gao shows how they coped with the conflicting demands of nationalist causes, unwanted male attention, and modern fame. Addressing themes of state control, media influence, fashion, and changing gender roles, she argues that the athletic female form helped to create a new ideal of modern womanhood in China at a time when women’s emancipation and national needs went hand in hand. This book brings vividly to life the histories of these athletes and demonstrates how intertwined they were with the aims of the state and the needs of society.
Employing an interdisciplinary approach, this is the first monograph to frame three once widely-read tanci fiction (a type of lyrical narrative) from nineteenth-century China, Meng ying yuan (1843), Yu xuan cao (1894), and Jing zhong zhuan (1895), as interrelated texts composed by three generation of members from one extended gentry family in South China. Based on the framework of family bonds, this book uses the three tanci works, authored by a mother, her daughter, and a nephew, to examine the history of how the changing aesthetics of tanci developed over China’s turbulent nineteenth century. It also demonstrates how the three writers used the genre of tanci to blur the boundaries of orthodox Confucian norms, in order to depict the evolving nature of gendered power relations at the dawn of China’s modernity.
The Butterfly Lovers Story, sometimes called the Chinese Romeo and Juliet, has been enduringly popular in China and Korea. In Transforming Gender and Emotion, Sookja Cho demonstrates why the Butterfly Lovers Story is more than just a popular love story. By unveiling the complexity of themes and messages concealed beneath the tale’s modern classification as a tragic love story, this book reveals the tale as a rich academic subject for students of human emotions and relationships, comparative geography and culture, and narrative adaptation. By examining folk beliefs and ideas that abound in the narrative—including rebirth and a second life, the association of human souls and butterflies, and women’s spiritual power—this book presents the Butterfly Lovers Story as an example of local religious narrative. The book’s cross-cultural comparisons, best manifested in its discussion of a shamanic ritual narrative version from the Cheju Island of Korea, frame the story as a catalyst for inclusive, expansive discussion of premodern Korean and Chinese literatures and cultures. This scrutiny of the historical and cultural background behind the formation and popularization of the Cheju Island version sheds light on important issues in the Butterfly Lovers Story that are not frequently discussed—either in past examinations of this particular narrative or in the overall literary studies of China and Korea. This new, open approach presents an innovative framework for understanding premodern literary and cultural space in East Asia.
What was sex like in China, from imperial times through the post-Mao era? The answer depends, of course, on who was having sex, where they were located in time and place, and what kind of familial, social, and political structures they participated in. This collection offers a variety of perspectives by addressing diverse topics such as polygamy, pornography, free love, eugenics, sexology, crimes of passion, homosexuality, intersexuality, transsexuality, masculine anxiety, sex work, and HIV/AIDS. Following a loose chronological sequence, the chapters examine revealing historical moments in which human desire and power dynamics came into play. Collectively, the contributors undertake a necessary historiographic intervention by reconsidering Western categorizations and exploring Chinese understandings of sexuality and erotic orientation.
本书内容包括：中唐时期的“情”文学、会昌灭法时期的女性、论唐代的冥婚及其形成的原因、唐代的文人与女妓、唐代的生育、中古时期女性墓志综述等。
The Sinophone framework emphasises the diversity of Chinese-speaking communities and cultures, and seeks to move beyond a binary model of China and the West. Indeed, this strikingly resembles attempts within the queer studies movement to challenge the dimorphisms of sex and gender. Bringing together two areas of study that tend to be marginalised within their home disciplines Queer Sinophone Cultures innovatively advances both Sinophone studies and queer studies. It not only examines film and literature from Mainland China but expands its scope to encompass the underrepresented ‘Sinophone’ world at large (in this case Taiwan, Hong Kong, Malaysia, Singapore, and beyond). Further, where queer studies in the U.S., Europe, and Australia often ignore non-Western cultural phenomena, this book focuses squarely on Sinophone queerness, providing fresh critical analyses of a range of topics from works by the famous director Tsai Ming-Liang to the history of same-sex soft-core pornography made by the renowned Shaw Brothers Studios. By instigating a dialogue between Sinophone studies and queer studies, this book will have broad appeal to students and scholars of modern and contemporary China studies, particularly to those interested in film, literature, media, and performance. It will also be of great interest to those interested in queer studies more broadly.
“The likeness of form between Chinese and English sentences,” writes the American Sinologist Ernest Fenollosa around 1906, “renders translation from one to the other exceptionally easy.” If Babel Had a Form asks not if his claim may be true, but what its phantasmic surprise may yet do. In twentieth-century intersections of China and Asia with the United States, translations did more than communicate meaning across politicized and racializing differences of language and nation. Transpacific translation breached the regulative protocols that created those very differences of human value and cultural meaning. The result, Tze-Yin Teo argues, saw translators cleaving to the sounds and shapes of poetry to imagine a translingual “likeness of form” but not of meaning or kind. At stake in this form without meaning is a startling new task of equivalence. As a concept, equivalence has been rejected for its colonizing epistemology of value, naming a broken promise of translation and false premise of comparison. Yet the writers studied in this book veered from those ways of knowing to theorize a poetic equivalence: negating the colonial foundations of the concept, they ignited aporias of meaning into flashpoints for a radical literary translation. The book’s transpacific readings glean those forms of equivalence from the writing of Fenollosa, the vernacular experiments of Boxer Scholar Hu Shi, the trilingual musings of Shanghai-born Los Angeles novelist Eileen Chang, the minor work of the Bay Area Korean American transmedial artist Theresa Cha, and a post-Tiananmen elegy by the exiled dissident Yang Lian. The conclusion returns to the deconstructive genealogy of recent debates on translation and untranslatability, displacing the axiom of radical alterity for a no less radical equivalence that remains—pace Fenollosa—far from easy or exceptional. Ultimately, If Babel Had a Form illuminates the demanding force of even the slightest sameness entangled in the translator’s work of remaking our differences.
Chinese poetry has a long history of interaction with the visual arts. Classical aesthetic thought held that painting, calligraphy, and poetry were cross-fertilizing and mutually enriching. What happened when the Chinese poetic tradition encountered photography, a transformative technology and presumably realistic medium that reshaped seeing and representing the world? Shengqing Wu explores how the new medium of photography was transformed by Chinese aesthetic culture. She details the complex negotiations between poetry and photography in the late Qing and early Republican eras, examining the ways traditional textual forms collaborated with the new visual culture. Drawing on extensive archival research into illustrated magazines, poetry collections, and vintage photographs, Photo Poetics analyzes a wide range of practices and genres, including self-representation in portrait photography; gifts of inscribed photographs; mass-media circulation of images of beautiful women; and photography of ghosts, immortals, and imagined landscapes. Wu argues that the Chinese lyrical tradition provided rich resources for artistic creativity, self-expression, and embodied experience in the face of an increasingly technological and image-oriented society. An interdisciplinary study spanning literary studies, visual culture, and media history, Photo Poetics is an original account of media culture in early twentieth-century China and the formation of Chinese literary and visual modernities.
This book explores how the traditional ideal of Chinese manhood – the "wen" (cultural attainment) and "wu" (martial prowess) dyad – has been transformed by the increasing integration of China in the international scene. It discusses how increased travel and contact between China and the West are having a profound impact; showing how increased interchange with Western men, for whom "wu" is a more significant ideal, has shifted the balance in the classic Chinese dichotomy; and how the huge emphasis on wealth creation in contemporary China has changed the notion of "wen" itself to include business management skills and monetary power. The book also considers the implications of Chinese "soft power" outside China for the reconfigurations in masculinity ideals in the global setting. The rising significance of Chinese culture enables Chinese cultural norms, including ideals of manhood, to be increasingly integrated in the international sphere and to become hybridised. The book also examines the impact of the Japanese and Korean waves on popular conceptions of desirable manhood in China. Overall, it demonstrates that social constructions of Chinese masculinity have changed more fundamentally and become more global in the last three decades than any other time in the last three thousand years.