Recent studies of Chinese history and literature have revealed the important role of violence—actual and representational—in constructing gendered subjectivities in late imperial China. This article investigates the relationship between violence and female agency through a case study of literary representations of a concubine who was cannibalized during the defense of Suiyang amid the An Lushan Rebellion (755–763) in the Tang dynasty. As a result of that event, the ethically questionable act of cannibalism engendered an assortment of writings down through late imperial China. Although historical writings before the Ming dynasty frequently praise the concubine's husband for sacrificing her, a series of dramatic works starting in the Ming feature the concubine character in contention with her husband. This paper parses those materials to reveal vastly different characterizations of the cannibalized woman—as a loyal concubine, a female knight-errant, an independent state subject, and a maternal deity. We suggest that authorship, generic traditions, family-state dynamics, ethnic relations, and religions together influenced the representations of the concubine. In particular, moving further away from the literati writing tradition, literature and performance derived from the story ascribed increasingly potent agency to the concubine character in late imperial China.
Unlike Zhu Suchen's 朱素臣 (1621?–after 1701) other extant chuanqi plays that survive only in manuscripts, Qinlou yue 秦樓月 (The Moon Shining upon the Qin Tower) was printed in a deluxe woodblock edition during the Kangxi period. This carefully executed imprint features an array of paratextual elements: preface; illustrations with matching poems by prominent seventeenth-century literati figures; a poetry collection by Chen Susu 陳素素, a Yangzhou courtesan cast as the heroine of the play; and an appendix with women writers' poems commenting on Susu's poetry and portrait. Such a design points to an editorial choice to stage both a male-centered literati reading community and a cohort of women writers from the Jiangnan area who gather to celebrate women's literary talent on the book page. By examining how these two bodies of readers reach a sense of solidarity in distinctive ways, this article aims at a better understanding of the xinxi 新戲 (new plays) of Suzhou as an important regional phenomenon of cultural production. Qinlou yue in the book's physical form makes use of the realms of both commercial and private printing to appeal to Ming loyalist sentiments widespread among the southern elite, and to embrace a new sense of womanhood epitomized by women writers and readers who had achieved iconic status in the Jiangnan region.
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