Gender and the Failure of Canonization: Anthologizing Women's Poetry in the Late Ming

Fong, Grace S.

doi:10.2307/4140624

Cited by 6 publications

(2 citation statements)

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“…Women have often been viewed as superior letter writers due to the alleged "naturalness" spontaneity, as well as the greater expressiveness of their style. [23] Their empathy for the letter genre was not only beneficial from stronger emotional sensitivity but was also the result of their passive existential status in society.…”

Section: Rewriting the Letter: Women Writers' Epistolary Monologuementioning

confidence: 99%

“…If for some reason you were to die, how could I go on living by myself? [23] Through the narrator's IM, it can be seen that Wei Naihua believes that their relationship is the real representative of pure and free love, and she states quite clearly that reason she has not committed suicide until now is that she has hopes that Qing Ai will come to rescue her. According to her, if she were to kill herself, her mother would send her body to the house of her arranged husband, and thus it would be her "greatest degradation".…”

Section: Rewriting the Letter: Women Writers' Epistolary Monologuementioning

confidence: 99%

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Enclosed Self-introspection and Camouflage: Interior Monologue in Republican Chinese Women’s Epistolary and Diary Writing

Yixin¹

2021

IJLA

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In Republican women writers' works, the diary and epistolary modes are two common styles to reveal characters' interior monologue (IM) and the flow of consciousness in fiction. The women writers often attempt to convey the self-introspection with female awareness through both narrative forms; in particular, women writers use it to express the narrator/characters' IM in a private enclosed situation. Through the specific textual analysis, it can be seen that the authors attempted to imply something through both of these narrative forms; in particular, women writers used this as a way to express the characters' IM in private situations; for another thing, the usage of epistolary or diary forms could enable women writers to avoid possible criticism or blame when they tried to express their feminist feelings or thoughts. To some extent, this private narrative form provided an existential space for their discourse. No matter for the diary or the letter, seemingly it is merely a personal expression of thoughts and emotion, however in fact this was women writers' intentional choice. They clearly knew that female writing was not yet the established norm, so most of women writers showed cautiousness in their creative writing. It achieves a more effective negotiation with a patriarchal society.

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Section: Rewriting the Letter: Women Writers' Epistolary Monologuementioning

confidence: 99%

Section: Rewriting the Letter: Women Writers' Epistolary Monologuementioning

confidence: 99%

Enclosed Self-introspection and Camouflage: Interior Monologue in Republican Chinese Women’s Epistolary and Diary Writing

Yixin¹

2021

IJLA

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Self-Canonization in Zuo Si’s “Poems on History”

Yue¹

2020

J. Chin. Humanit.

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Zuo Si’s 左思 [ca. 250-305] “Poems on History” [yongshi 詠史] have often been regarded as a milestone in the development of the poetic subgenre “poems on history.” Scholars have noted Zuo’s use of historical allusion and description to articulate his personal emotions and ambitions and to criticize the political hierarchy of the Western Jin [265-316]. In addition, they have recognized Zuo’s “Poems on History” as representing an alternative to the ornamental style of poetry popular in his time. This article addresses the way in which Zuo’s poems contributed to the “poems on history” subgenre, as well as how they reflected the broader context of Six Dynasties [220-589] society. At the same time, it investigates another purpose for his use of historical figures in his poetry: self-canonization. This paper argues that Zuo used historical figures not only to express his emotions but also to skillfully place himself into the larger context and lineage of exemplary historical figures. Zuo is thus telling later generations that they should remember him with the same reverence—he is invoking history as a force of self-canonization. This self-canonization perspective reveals the complexity of Zuo’s appropriation of earlier historical sources. It also deepens our understanding of the purpose of Zuo’s “Poems on History” and of the ways in which history is disseminated through poetry in the Six Dynasties period.

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Collecting the Here and Now: Birthday Albums and the Aesthetics of Association in Mid-Ming China

Liu

2015

JCLC

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Gender and the Failure of Canonization: Anthologizing Women's Poetry in the Late Ming

Cited by 6 publications

References 0 publications

Enclosed Self-introspection and Camouflage: Interior Monologue in Republican Chinese Women’s Epistolary and Diary Writing

Enclosed Self-introspection and Camouflage: Interior Monologue in Republican Chinese Women’s Epistolary and Diary Writing

Self-Canonization in Zuo Si’s “Poems on History”

Collecting the Here and Now: Birthday Albums and the Aesthetics of Association in Mid-Ming China

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