Song Dynasty Figures of Longing and Desire

Blanchard, Lara C.W.

doi:10.1163/9789004369399

Cited by 3 publications

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“…12 Про особливості стосунків співачок з літераторами, представниками аристократичних родин та чиновниками, а також про культуру розважальних кварталів та її вплив на поезію за часів династії Тан див. : [Blanchard 2018;Yao 2022;Dashchenko 2022].…”

Section: стилістичні фігури в поетичному циклі лю цайчуньunclassified

The Problems of Genre Attribution of Medieval Female Chinese Poetry and Its Stylistic Features: Based on Liu Caichun’s Poetry

Dashchenko

2023

Shìdnij svìt

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The article presents the first Ukrainian translation of the poetic cycle "Melody from Luohong Tower", or "Waiting for [a Husband's] Return Song" ("羅嗊曲"), written by Liu Caichun (劉採春, 9 th century), one of the "Four Greatest Female Shi Poets of the Tang Dynasty" ("唐代四大女詩人").The first part of the article presents the translation of the only existing biographical fragment about Liu Caichun written by famous Tang writer Fan Shu (範攄, 9 th cent.) in "Discussions with friends at Yunxi" ("雲溪友議") and traces the patterns of interpretations of her life in the works of Chinese and Taiwanese researchers.The second part of the article is devoted to an attempt to determine the genre attribution to her poetic cycle of seven poems. It has been proven that this cycle was written in shi genre and it presents a successful combination of "ancient style poetry" gutishi (古體詩) with "modern style poetry" jintishi (近體詩): six of the seven poems are written according to the rules of jintishi wri-ting and one is of gutishi.The third part of the article reveals the use of various stylistic devices in Liu Caichun's poetic cycle, in particular, a masterful usage of phonetic (shuangshen and dieyun), lexical (various types of antithesis and gradation) and syntactic means of expression (reduplication, anadiplosis, rhetorical question) allowing to convey various feelings of her lyrical heroine and to give multiple dimensions to the author's voice.

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Section: стилістичні фігури в поетичному циклі лю цайчуньunclassified

The Problems of Genre Attribution of Medieval Female Chinese Poetry and Its Stylistic Features: Based on Liu Caichun’s Poetry

Dashchenko

2023

Shìdnij svìt

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Picturing Parental Love for Girls in Song (960–1279) China

Wang

2023

J Chin Hist

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This essay examines the representation of young girls in Song dynasty literary and visual arts as period portrayals of an important human emotion: parental love. The literature on doting parents extends far back in Chinese history, but in Song times children become the focus of family manuals, pediatric manuals, and an expanding visual and material culture in which the imaginary lives of children in play are conveyed to readers and viewers. Girls are shown not only active in games with boys but engaged in guiding and supervising the play. Talented girls were praised and adored by Song dynasty parents. Children were portrayed as resolving conflicts among companions on their own, with little interference from adults. Song period art and literature adopted an indulgent attitude toward mischievous behaviors in boys and girls. There developed a conception of family increasingly based on affection rather than the authority of age.

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Defining a Female Subjectivity

Blanchard¹

2020

Positions: Asia Critique

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Cui Xiuwen (b. 1970) and Yu Hong (b. 1966) are contemporary Chinese artists whose images of women reflect a complicated gendered perspective. This article focuses on Cui’s Ladies’ Room (2000) and Yu’s Female Writer (2004, from the series She). Both can be construed as feminist reinterpretations of Chinese works of the imperial era that represented idealized female figures from a male perspective. Ladies’ Room, a video that shows behind-the-scenes images of sex workers in a nightclub washroom, brings to mind earlier paintings that depict women in feminine space. Ladies’ Room, however, incorporates multiple female gazes: not only that of the artist but also those of the subjects, who look at each other and at their own mirror reflections. Female Writer, a diptych consisting of a photograph and painting of the writer Zhao Bo, recalls paintings from the “beautiful women” genre. Though both photograph and painting reflect Yu Hong’s point of view, Zhao Bo was permitted to select her photograph, and thus the work engages with both author’s and subject’s gaze. Ladies’ Room and Female Writer both reclaim female subjectivity as they present images of contemporary Chinese women while also grappling with problems of authenticity, the public/private dichotomy, identity, and self-expression.

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Song Dynasty Figures of Longing and Desire

Cited by 3 publications

References 0 publications

The Problems of Genre Attribution of Medieval Female Chinese Poetry and Its Stylistic Features: Based on Liu Caichun’s Poetry

The Problems of Genre Attribution of Medieval Female Chinese Poetry and Its Stylistic Features: Based on Liu Caichun’s Poetry

Picturing Parental Love for Girls in Song (960–1279) China

Defining a Female Subjectivity

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