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Thèses sur le sujet « Women in Chinese history »

Auteur : Grafiati

Publié le 9 mars 2023

Mis à jour le 10 mars 2023

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1

Ma, Nancy. « Woman•Horse : Identifying Chinese Women Artists’ Attitudes Towards Feminism Through a Reclamation of Chinese Women’s History ». Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16568.

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As a Chinese woman who was once oppressed, and may still be, this thesis project is my initiative to reclaim dignity for those who were oppressed and honour those who helped improve women’s status in Chinese history. Linda Nochlin asking, ‘Why have there been no great women artists?’ inspired me to question Why have there been no great Chinese feminist artists? Simultaneously, Gerda Lerner’s argument on the ‘absence of Women’s History’ motivated me to reclaim Chinese women’s history. This thesis attempts to answer my question through an exploration of women’s contributions to Chinese history. This thesis explores women’s abilities prior to their oppression in the patriarchal order of China’s past. It portrays women’s thousand-year struggle against the patriarchal backdrop, wherein Chinese women and female artists inherited the traits projected onto them. I highlight the gender inequality experienced by contemporary Chinese female artists in the global art world, and their self-identified struggle to be named as ‘feminist artist,’ revealing Chinese women are still submissive to men in ‘Post-Patriarchy.’ In my attempt to examine gender equality issues, many scholars’ and artists’ works are utilized, including Bao Jialin, Ch’ü T’ung-Tsu, Amelia Jones, Li Youning, Li Xueqin, Liang Qichao, Lu Xun, Sally E. Merry, Laura Mulvey, Elizabeth A. Sackler, Sally J. Scholz, Wang Ermin, Wong Hon-lap, Xu Hong, Yuan Ke, and Zhuangzi. The artworks of Judy Chicago, Chen Qingqing, Tao Aimin, and Yin Xiuzhen are also discussed, exploring the similarities they share with me in reclaiming women’s history through artmaking. In addition, the feminist works of Lin Tianmiao and Cui Xiuwen, as well as my own work, are examined to show how contemporary Chinese female artists reject the label of ‘feminist.’ My artwork History can be forgotten and falsified; the purpose of my artwork is to refresh and leave a lasting memory of Chinese women’s suffering and experiences of oppression. Following the flow of my research, my installation work Woman•Horse, 2014–16, mourns the souls of Chinese women lost to history. It contains ten ceramic sculptural works. Each individual piece includes a narrative that describes the lives of and challenges faced by Chinese women from the formation of the cosmos to the present day. The long white strips (signifying footbinding bandages) and red threads hanging down amidst the sculptures embody the long-term oppression of Chinese women and a trace of history. This work has been exhibited at Sydney College of the Arts in September 2016.

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2

Wang, Bin. « Chinese Feminism : A History of the Present ». Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17730.

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This thesis’ subtitle, “a history of the present,” has been chosen to highlight the purposes of my research on Chinese feminism. First, I aim to give a close account of the development of contemporary Chinese feminism in media and popular culture, in academia, in student societies, and in social organizations. Second, by exploring the history and historiography of pre-2000 Chinese feminism, I aim to unravel how politics has impinged upon the writing of this history and how feminist history in China might practically engage with the past to articulate politics in the present. The first part of this thesis traces the emergence of Chinese feminism in various ways, considering the impact of publications like Women’s Bell in the early twentieth century, and discussing how different voices, such as anarcho-feminism and “traditional” feminism, were marginalized by late Qing and May Fourth “liberal” feminisms bound up with a male-centered nationalism. From the 1920s on, the Chinese Communist Party (CCP) inherited some of these ideas about “women’s rights,” while denouncing others, and later put a different vision of women’s liberation into practice, especially in the period from 1949 to the late 1970s in the People’s Republic of China. My thesis argues for conceptualizing this past as a history of socialist feminism and for locating socialist feminists among women cadres, cultural workers and labor models of this period. While various gains or losses of Chinese socialist feminism remain to be debated today, my thesis will also consider how, in the 1980s and 1990s, a post-Mao generation of feminists identified what they perceived as socialist feminism’s obvious shortcomings and spearheaded new forms of feminist discourse and practice in women’s literature, women’s studies and women’s activism. The second part of this thesis, while also referencing Chinese feminism’s connections to its immediate past, focuses more explicitly on the present landscape, drawing primarily on fieldwork conducted with Chinese feminist academics and students and with urban feminist activist groups operating outside the university context. By first examining the current state of Chinese youth and their relations to feminism, these chapters discuss possible reasons why young Chinese people do not often identify with feminism. Here I want to make a case for broadening the category of feminism by discussing its two likely popular forms, imbricated respectively with consumer and celebrity culture. However, this part of the thesis focuses more centrally on feminist academics, students, and activists, who are collectively the most active force in contemporary Chinese feminism. After the post-Mao generation, an intermediate generation became feminists largely through educational institutions, and after finishing graduate school many have found ways to expand academic feminism in Chinese universities. Academic feminists, however, take varied positions themselves with respect to the relation between research and activism, some offering help to student feminists organizing vigorous student societies on campus. Outside university campuses, some young graduates have grown up to be China’s most devoted feminist activists, working in crucial feminist organizations, whose core practices, including their use of social media, their activist strategies, and their relations to LGBT groups, will be elaborated. This is an interdisciplinary project centered on Chinese feminism and inspired by scholarship in Gender Studies, Cultural Studies, Women’s and Gender History, and Historical Theory. It does not aim to construct an overarching theoretical framework that might explain the present forms of Chinese feminism. Instead, I draw on a range of theoretical frameworks, including scholarship focused on the relations between history and history-writing, on intellectual work in popular culture, on relations between feminist theory and practice, and on the conceptualization of tradition and modernity. I am thus also engaging, implicitly and explicitly, with the cultural politics of relations between leftists and liberals, and between such critical axes as modernism and postmodernism. Overall, I aim to demonstrate how, for Chinese feminism, different meanings of “history of the present” ultimately converge in the ongoing relevance of historical ideas and practices, and in the ways Chinese feminists who write about history, or engage in other kinds of research or activism, continue to engender the present and the future.

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3

Mo, Ting Juan. « Life under shadow : Chinese immigrant women in nineteenth- century America ». Thesis, Virginia Polytechnic Institute and State University, 1989. http://hdl.handle.net/10919/56197.

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Racism and sexism pervaded American society during the nineteenth century, creating unusual disadvantaged conditions for Chinese immigrant women. As a weak minority in an alien and often hostile environment and as a subordinate sex in a sexist society, Chinese women suffered from double oppression of racism and sexism. In addition, the Chinese cultural values of women's passivity and submission existed within Chinese communities in America, and affected the lives of these immigrant women. This work uses government document, historical statistics, accounts from newspapers and literature to examine the life experiences of Chinese immigrant women and American attitudes towards them, and to analyze the roots of the oppression of racism and sexism.
Master of Arts

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4

Landroche, Tina Michele. « Chinese women as cultural participants and symbols in nineteenth century America ». PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/4291.

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Chinese female immigrants were active cultural contributors and participants in nineteenth century America, yet Americans often simplified their roles into crude stereotypes and media symbols. The early western accounts concerning females in China created the fundamental images that were the basis of the later stereotypes of women immigrants. The fact that a majority of the period's Chinese female immigrants became prostitutes fueled anti-Chinese feelings. This thesis investigates the general existence of Chinese prostitutes in nineteenth century America and how they were portrayed in the media. American attitudes toward white women and their images of Chinese women created the stereotype of all Chinese female immigrants as immoral. Thus, they became unconscious pawns of nineteenth century American nativist forces wanting to limit and prevent Chinese immigration based on prejudicial and racist attitudes.

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5

李仕芬 et Shi-fan Lee. « The male characters in the fiction of contemporary Taiwanese women writers ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31235979.

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6

Wang, Bo. « Inventing a Discourse of Resistance : Rhetorical Women in Early Twentieth-Century China ». Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1188%5F1%5Fm.pdf&type=application/pdf.

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7

Ng, Po-chu, et 伍寶珠. « Writing about women and women's writing ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36259019.

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8

Huang, Belinda. « Gender, race, and power : the Chinese in Canada, 1920-1950 ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0002/MQ43885.pdf.

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9

Chen, Yuling, et 陳玉玲. « A study of subjectivity in the autobiography of modern Chinese women = ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B44569713.

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10

Chang, Mei-tsu, et 張美足. « A study of the prose-writings of contemporary women writers in Taiwan (1980-2000) = ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45014668.

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11

Yu, Yuen-yee Frankie, et 余婉兒. « Living on the margin ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015168.

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12

Yang, Jing, et 杨静. « The construction of the Chinese woman in 1990s American cinema ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B43813185.

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13

Huang, Qiaole 1976. « Writing from within a women's community : Gu Taiqing (1799-1877) and her poetry ». Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81496.

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This thesis examines the life and poetry of the woman poet Gu Taiqing (1799-1877) within the context of a community of gentry women in mid-nineteenth century Beijing. This group of women was a "community" in the sense that their contact, sociability, friendship and poetry writing were meaningfully intertwined in their lives. The thesis is divided into three interconnected chapters. Two separate biographical accounts of Gu Taiqing's life---one centered around the relationship with her husband, and the second around her relationship with her female friends---are reconstructed in the first chapter. This biographical chapter underlines the importance of situating Gu in the women's community to understand her life and poetry. The second is comprised of a reconstruction of this women's community, delineating its members and distinctive features. In the third chapter, a close-reading of Gu's poems in relation to the women's community focuses on the themes of xian (leisure), parting, and friendship. This chapter shows how each of these themes are represented by Gu and how her representations are closely related to the experiences of this women's group.

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14

李仕芬 et Shi-fan Lee. « Love and marriage ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31208721.

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15

Chin, Voon-sheong Grace, et 秦煥嫦. « Expressions of self/censorship : ambivalence and difference in Chinese women's prose writings from Malaysia andSingapore ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245237.

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16

Tsui, Justina Ka Yee. « Chinese women : active revolutionaries or passive followers ? : a history of the All-China Women's Federation, 1949 to 1996 ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0004/MQ39428.pdf.

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17

Lin, Tong (Hilary). « Ji Sor (1997) : Self-Realization of Women in Cinema and in History ». Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1671.

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100 years ago, there was a group of women called Zishunu who stood up against the whole society and swore off marriage for life. Zishu offered an escape for many women in the Pearl River Delta area. As forerunners in female independence and liberation, Zishunu never had the chance to be the spokesman of themselves or the recognition they deserved. Ji Sor (1997), a groundbreaking work in lesbian-themed movies, beautifully depicts this special and unparalleled historical phenomenon in detail. Released a few months after the Handover of Hong Kong in 1997, this critically acclaimed movie by Hong Kong New Wave filmmaker Jacob Cheung embodies the three biggest fears of an extremely conservative society: absence of marriage, challenges to male hegemony, and homosexuality. Although seen as representatives of strong and independent women, Zishunu had to make a lot of compromises to the patriarchal culture to be allowed not to marry. The emancipation of Zishunu, although as a huge advancement in the feminism in China, is not a complete liberation. Women emancipation cannot be achieved by women celibacy. A hundred years later, we are still asking what gender equality really means, what is women’s power, what is independence, what is feminism? Through the analyses of Zishu and Ji Sor both individually and together, this thesis explores the meanings of gender equalities and sexual identities mean in the cinematic world and in the real world. There shouldn’t be a set of standards of how women should act. The right that a woman should have, just like a real women’s movie, is the autonomy to make her own decisions.

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18

Li, Xiaorong 1969. « Rewriting the inner chambers : the boudoir in Ming-Qing women's poetry ». Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100645.

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My dissertation takes the social and symbolic location of women---the inner chambers [guige or gui]---as a point of departure to examine Ming-Qing women's unique approach to the writing of poetry. In Ming-Qing China, women continued to be assigned to the inner, domestic sphere by Confucian social and gender norms. The inner chambers were not only a physically and socially bounded space within which women were supposed to live, but also a discursive site for the construction of femininity in both ideological and literary discourses. The term gui embraces a nexus of meanings: the material frame of the women's chambers; a defining social boundary of women's roles and place; and a conventional topos evoking feminine beauty and pathos in literary imagination. Working with the literary context of boudoir poetics, yet also considering other indispensable levels of meanings epitomized in the cultural signifier guige, my dissertation demonstrates how Ming-Qing women poets re-conceive the boudoir as a distinctive textual territory encoded with their subjective perspectives and experiences. Compared with the poetic convention, the boudoir as inscribed in Ming-Qing women's texts is far more complex as its depiction is informed by nuances in their historical, social and individual experiences.

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19

Liu, Yuan. « We Are Ginling : Chinese and Western Women Transform a Women’s Mission College into an International Community, 1915-1987 ». Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case1585222813888865.

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20

羅樂. « 摩登"閨秀" : 早期中國電影的儒家道德美學與現代性= Modern guixiu : Confucian moral aesthetics and Chinese modernity in early Chinese ». HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/466.

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在30年代主流文化界和知識界繼續熱誠地、全然地追求現代性時，一些現代傾向（modernist）的文化知識份子在電影和其他媒體中更多元地實踐着五四時期菁英知識份子的"全盤反傳統主義"(Totalistic Antitraditionalism)，他們將這種熱情訴諸于積極塑造以新興的知識女性為代表的中國"新女性"身上。然而，在對電影這樣新興舶來品的媒介使用和對西方一些基本"電影語言"（cinematography）的效仿中，某些源于儒家的中國核心傳統價值和審美觀念，被有意識或無意識地挪用到電影人物形塑和審美韻味的建構中。這樣，不僅傳統經典的"儒家閨秀"藉着當代知識女性的新身份被重新包裝和再現，一些極具中國美學特色的電影處理技巧也在其中雛形漸現。更重要地，傳統閨秀的美學特點解釋了新的受教育女性謂之"新"的原由。本文（1）將從"美德"這一概念的傳承和模糊性入手，追溯禮教、道德之于傳統人物建構的意義和時代困境；（2）通過淺論閨秀人物與儒家美學思想的關係，以梳理多重道德審美的層次，並提煉"節"、"止"、 "制"的傳統美學建構機理；（3）通過提煉的這套可以參照施行的電影分析途徑，分析相關電影並蒐集分析證據；（4）借用銀幕內外的實踐策略來梳理和回應"傳統與現代"不同層次的矛盾衝突、協作重構，最後不僅可以進一步探究以30年代電影人為代表的人物思想矛盾，還可以辨析中國現代性的駁雜深刻之處。 In the 1930s when dominant intellectuals were cordially and overtly aspiring over modernity, a bunch of modernist intellectuals diversely practiced Totalistic Antitraditionalism inherited from MFM (May Fourth Movement) elite, on silver screen and other media. The educated women are both mediated representatives of Chinese "new" women and bearers of modernists' passion and dreams. Nevertheless, while accessing the film (as exotic and "new" medium then) and imitating western cinematography, some traditional core values and aesthetic ideologies rooted in Confucianism are consciously or unconsciously appropriated in constructing characteristic and auratic aesthetics on silver screen. Hence, not only the classic Confucian guixiu has been repacked and represented with new identity as contemporary educated women, but also some Chinese aesthetical patterns have emerged in film. More importantly, the aesthetics embedded in classic guixiu explain why new educated women are representatives of the "new". This paper (1) starts with the inheritance and ambiguity of the concept "meide (virtue)", before deploying how conventional Li (rites) and Daode (moral) contribute to both constructive significance and chronic dilemma of characters. (2) By virtue of analyzing classic guixiu and Confucius aesthetics, it is further enacted how moral aesthetics are enriched with multiple layers. Moreover, a type of constructive mechanism related to abridge (jie), stop (zhi) and restraint (zhi) is generalized. (3) Then, it deduced some framework that could be approached to filmic analysis as well as collecting data. (4) Lastly, the question about "traditional and modern" will be echoed with on and off screen strategic practices, in terms of contradiction, conflict, collaboration and reconstitution on different levels. Thus, not only the rooted dilemma in the 1930s could be revealed by means of analyzing contradictions of filmic people, but also the hybridity, heterogeneous and profundity of Chinese modernity could be further indicated.

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21

齊曉楓 et Hsiao-feng Chi. « Patterns of husband selection in traditional Chinese fiction and drama ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238312.

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22

Tse, Wai-lok, et 謝煒珞. « Female singers and the ci poems of the Tang and Song periods= ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38322110.

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23

Xu, Sufeng. « Lotus flowers rising from the dark mud : late Ming courtesans and their poetry ». Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102831.

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The dissertation examines the close but overlooked relationship between male poetry societies and the sharp rise of literary courtesans in the late Ming. I attempt to identify a particular group of men who devoted exclusive efforts to the promotion of courtesan culture, that is, urban dwellers of prosperous Jiangnan, who fashioned themselves as retired literati, devoting themselves to art, recreation, and self-invention, instead of government office. I also offer a new interpretation for the decline of courtesan culture after the Ming-Qing transition.
Chapter 1 provides an overview of the social-cultural context in which late Ming courtesans flourished. I emphasize office-holding as losing its appeal for late Ming nonconformists who sought other alternative means of self-realization. Chapter 2 examines the importance of poetry by courtesans in literati culture as demonstrated by their visible inclusion in late Ming and early Qing anthologies of women's writings. Chapter 3 examines the life and poetry of individual courtesans through three case studies. Together, these three chapters illustrate the strong identification between nonconformist literati and the courtesans they extolled at both collective and individual levels.
In Chapter 4, by focusing on the context and texts of the poetry collection of the courtesan Chen Susu and on writings about her, I illustrate the efforts by both male and female literati in the early Qing to reproduce the cultural glory of late Ming courtesans. However, despite their cooperative efforts, courtesans became inevitably marginalized in literati culture as talented women of the gentry flourished.
This dissertation as a whole explores how male literati and courtesans responded to the social and literary milieu of late Ming Jiangnan to shed light on aspects of the intersection of self and society in this floating world. This courtesan culture was a counterculture in that: (1) it was deep-rooted in male poetry societies, a cultural space that was formed in opposition to government office; (2) in valuing romantic relationship and friendship, the promoters of this culture deliberately deemphasized the most primary human relations as defined in the Confucian tradition; (3) this culture conditioned, motivated, and promoted serious relationships between literati and courtesans, which fundamentally undermined orthodox values.

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Winans, Adrienne Ann. « Race, Space, and Gender : Re-mapping Chinese America from the Margins, 1875-1943 ». The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437702859.

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Chan, Suet Ni. « Women at crossroads : a study of women's search for identity in twentieth century Chinese-American fiction ». HKBU Institutional Repository, 2009. https://repository.hkbu.edu.hk/etd_ra/1095.

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劉陽河. « 清代女性詩詞的日常化書寫研究= A study of women's poetry on everyday life in the Qing dynasty ». HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/570.

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閨秀是清代文壇的一股新興力量，她們以獨特的女性寫作風格和視角為清代文學乃至整個中國文學注入了新鮮的水源。清代閨秀作家相較於前代，在詩詞創作方面出現一個不容忽視的特點，即在前代女作家重複傳遞的閨情閨怨之外，開拓了對日常生活的書寫。然而目前學界未有圍繞清代閨秀詩詞日常生活書寫的專著，涉及清代閨秀詩詞日常化的論文也十分稀少。有見於此，本文圍繞「清代閨秀如何書寫日常生活」這一問題展開論述，試圖彌補前人之不足。本文包含七章，除第一章「緒論」及第七章「結論」之外，二至六章的主要內容分別如下: 第二章主要通過史料文獻還原清代女性的日常生活樣貌。清代閨秀的日常生活，既有中饋理家和侍親課子等方面對於婦德的順從，又有讀書吟詠和閨外行旅等傳統婦德之外的內容。第三章以清代女性詠物詩詞為重點研究文本，主要分析詠物詩詞中大量湧現的日常化吟詠對象；同時探討詠物詩詞的日常化寫作手法和情志表達。第四章重點分析自清代才大量出現的女性家務詩詞。一方面與男性文人筆下對勞動女性的書寫作對比研究，另一方面探討家務書寫對於閨秀的意義。第五章從三個方面對清代閨秀書寫日常生活的方式進行梳理，包括拓展選材範圍、增添日記元素和關注現實生活。第六章考察清代女性詩詞日常化的原因。清代女性詩詞出現日常化的趨勢，是創作主體的改變、儒家禮儀道德規範的引導，以及文壇風氣等多重因素共同作用的結果。Elite women writers (guixiu 閨秀)were are vitalizing force in the literary field of the Qing Dynasty. With their unique gendered writing style and perspective, they brought fresh blood to Qing Dynasty literature, and in a broader sense, to Chinese literature as well. Compared with the previous generations, Qing elite women writers had a prominent feature in their writing of poetry. That is, in addition to the lyrical themes already repeatedly dealt with by earlier female writers, they started writing about their daily life. However, no monograph has been published on the writing of daily life in Qing elite women's poetry and little has been discovered on how their attention turned to the writing of daily life. This thesis fills this research gap through addressing the following question: how did Qing elite women write about everyday life? This article is divided into seven chapters, flanked by an introduction in Chapter One and a conclusion in Chapter Seven. Abstracts of Chapters Two to Six are as follows: Chapter Two outlines a reconstruction of the daily life of women in the Qing Dynasty through historical texts. It touches upon the expansion of Qing elite women's living space through comparison with previous generations. Besides taking on familial and parental responsibilities, Qing elite women expanded their living space by writing poetry and traveling. Chapter Three focuses on poems on objects (yongwu shici詠物詩詞) written by women in the Qing Dynasty. It analyzes the daily objects that appeared in a large number of poems. It also discusses the writing techniques and artistic expressions of these poems. Chapter Four focuses on women's poems on housework, a genre which did not appear until the Qing Dynasty. On the one hand, the chapter compares such poems with working women depicted by male literati; on the other hand, it discusses the significance of writing about housework for elite women of the time. Chapter Five organizes the approach Qing elite female writers had taken in writing about daily life from three aspects, namely, broadening their scope of topic selection, adding diary-like elements to their works and showing interests in family livelihood. The Sixth Chapter investigates the reasons behind the popularization of writing about daily life in Qing women's poetry. This trend is the result of a number of reasons: the change of writing subject, the guiding of Confucian moral norms and the climate of the literary circle at the time.

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David, Elise J. « Making Visible Feminine Modernities : The Traditionalist Paintings and Modern Methods of Wu Shujuan ». The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.

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Isbister, Dong. « The “Sent-Down Body” Remembers : Contemporary Chinese Immigrant Women’s Visual and Literary Narratives ». The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259594428.

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Lo, Keng-chi, et 盧勁馳. « Politicizing female subjectivity : performativity and sublimation in leftist writers Yang Mo, Xiao Hong ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199503.

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The thesis deals with the concept of feminine sublimation among Chinese feminist writings and theory. Previous feminist readings of literary works of Chinese female writers tended to confuse the Freudian concept of sublimation with “aestheticized politics” and utopian desire. These feminist readings have concentrated on articulating an authentic subject beyond power relations. I would however, redefine the concept of feminine sublimation as a theoretical trope to articulate the possible emergence of female subjectivity within specific power relations. Although gender performativity has become a universally circulated concept to theorize the subversive depiction of female bodies in particular cultural contexts, I argue that any performative reiteration would not be adequately contextualized and historicized when its usage ignores issues of female subjectivity in terms of sublimation. Chapter one of the thesis begins with various feminist approaches to the relationship of sublimation and performativity. Chapter two re-reads a novel Song of Youth in the socialist era. The conventional conception of sublimation is re-examined contextually in a way that the consideration of gender performativity alone would not be able to do. Through reading a canonical work of the “nationalist feminist” writer Xiao Hong, chapter three delineates the relation between my redefined concept of feminine sublimation and the possibility of political coalition, and explains how this relation provides a totally different understanding of performative reiteration. I would finally redefines the fundamental relationship between feminist subjectivity and performative politics.
published_or_final_version
Comparative Literature
Master
Master of Philosophy

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David, Elise. « Networks Sketched in Ink : Wu Shujuan (1853-1930) and the Business of Female Celebrity in the Shanghai Art World ». The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574694405893491.

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Roberts, Al D. « Mao’s War on Women : The Perpetuation of Gender Hierarchies Through Yin-Yang Cosmology in the Chinese Communist Propaganda of the Mao Era, 1949-1976 ». DigitalCommons@USU, 2019. https://digitalcommons.usu.edu/etd/7530.

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The Chinese Communist Party established the People’s Republic of China in 1949 with the intention of creating a social utopia with equality between the sexes and China’s diverse ethnic groups. However, by portraying gender, ethnicity, and politics in propaganda along the lines of yin and yang, the Party perpetuated a situation of oppression for women and minorities.

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Hung, Christine Yu-Ting School of Modern Language Studies UNSW. « A Nation of Sadness ? Reading history, culture, and gender in Hou Hsiao-hsien???s A City of Sadness ». Awarded by:University of New South Wales. School of Modern Language Studies, 2006. http://handle.unsw.edu.au/1959.4/24263.

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This thesis engages with Taiwanese history by offering a reading of Hou Hsiaohsien???s A City of Sadness (1989), making reference to the film???s historical dimensions, cultural representations and gender issues in the period 1945 to 1949. In addition, Hou???s cinematography is detailed with comparison to Yasujiro Ozu and the influences of Japanese colonisation. Hou???s immense contribution to Taiwanese film consists principally in a Taiwanese trilogy that traces Taiwan???s history in the 20th century. In The Puppet Master (1993) Hou details the era of Japanese colonisation from 1895 to the restoration of Taiwan by the Kuomintang in 1945. Later, A City of Sadness focuses on the fate of the Lin family from 1945 to 1949, which epitomises people???s life in Taiwan during the initial stages of Kuomintang domination. Finally, Good Men, Good Women (1995) highlights two different eras in Taiwan: the political movement in the 1950s and the pop culture in the 1990s. The thesis uses illustrations from all three films to explore Hou???s historical, cultural and gender representations. In order to understand Hou???s ideology and beliefs in greater depth, I also review his autobiographical film, A Time to Live, and A Time to Die (1985). This thesis examines Taiwan???s indigenous culture and the impact of Japanese and Chinese cultural practices in A City of Sadness through the post-colonial theories of Perry Anderson, Homi Bhabha, and Chris Berry. I draw on their theories of cultural hegemony and my empiricism to investigate Hou???s representation of the political situation in Taiwan. Finally, the thesis evaluates gender issues in A City of Sadness, with reference to Julia Kristeva???s notion of ???feminine time??? and the debate between Emilie Yeh and Mizou concerning ???whether women can really enter history???. In evaluating A City of Sadness I argue that Hou Hsiao-hsien???s use of a family???s microhistory to parallel the national macro-history of the February 28th Incident opens an important historical window through which the audience may re-encounter and reflect on Taiwan???s past, and think positively about its future.

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岑金倩 et Kam-sin Shum. « A study of female characters in modern Chinese historicaldrama (1911-1949) ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31214605.

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Donnelly, Lisa Chere'. « Shaping the Future Past : Finding History, Creating Identity in the Kwan Hsu Papers ». PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/481.

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Dr. Kwan Hsu was neither a superstar nor a celebrity. Her name does not come up in conversations about important contributors to her field of biophysics nor is she instantly recognizable for her contributions to Portland State University's international program or the state of Oregon's business ties with China. Yet she was a contributor, a cog-in-the-wheel, at the very least, in all of these areas and more. She was a peripheral member of a well-known Chinese family, but few in the United States know of or perhaps have interest in, but otherwise, she had no great connections or family ties to generate interest in her story. How does one process a collection for a woman who does not meet the traditional criteria for excellence or success or public interest for an archive? Where is the value to the larger historical narrative of our time in preserving the memories of someone who was non-remarkable, or, conversely, someone who may be even too unique to contribute to that greater narrative? These are the questions I wrestled with when I first came to this collection. As my research progressed, I realized that I faced more questions, and that to come to any understanding that might answer them, I was going to have to research the history of archives and archival processes. Science, the Cold War, Communist China, women, the immigrant experience, all of these issues became part of my thesis, however shallowly I was able to investigate them. Questions of identity and historiography, of power and discourse were explored. In the end, what I found was that a collection that on the outside looked unimpressive and unenlightening, could indeed be very valuable, and provide insight into any number of areas of current interest in historical research. This is that story.

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Merlin, Monica. « The late Ming courtesan Ma Shouzhen (1548-1604) : visual culture, gender and self-fashioning in the Nanjing pleasure quarter ». Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:0da584bf-16fc-4372-8a1b-b97afd3bcf8a.

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Ma Shouzhen (1548-1604) was a cultured courtesan who lived in the famous pleasure quarter along the Qinhuai River in Nanjing, the southern capital of the Ming dynasty (1368-1644). She was talented in dance and music, painting and poetry, and surprisingly for her time, she was also a playwright. Although she was a celebrity of the prolific Nanjing cultural milieu and there is a good corpus of extant material by and about her, the particular contribution of Ma Shouzhen - her character and her work - have been marginalised, or even neglected, by the previous scholarship. This thesis is a cross-disciplinary study of Ma Shouzhen and is the first in-depth scholarly investigation into the entirety of her activities. It employs material and methods traditionally pertaining to the disciplines of sinology, history, art history, literary and drama studies. The thesis has a dual aim: first, to provide a nuanced understanding of the courtesan, her cultural production and social practice; second, to reclaim the agency and legacy of her character within the cultural milieu of late Ming Nanjing and beyond. These aims will be achieved through two main research objectives: (1) recovering and re-evaluating visual and written sources by and about the courtesan; (2) investigating those sources in order to comprehend her modes of self-representation and strategies of self-fashioning, analysed especially through the lens of gender. The main body of the thesis is composed of an introduction, five core chapters, and an epilogue; the chapters are structured so as to provide as complete a picture of Ma Shouzhen as possible. Chapter Two explores the space of the pleasure quarter, Ma’s biography and its entwinement within the complexities of the historical moment. Chapter Three focuses on her painting, Chapter Four considers her poetry, and Chapter Five explores her theatre practice; Chapter Six extends the investigation to focus on the construction of Ma’s historical character in later decades. In its content and aims, this thesis contributes to women’s and gender history, as well as to studies in visual culture and literature.

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Pan, Yu Lan. « Desire for the other in Maxine Hong Kingston's The Woman Warrior : Memoirs of a Girlhood among Ghosts ». Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2456358.

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Knight, John Marcus. « Our Nation’s Future ? Chinese Imaginations of the Soviet Union, 1917-1956 ». The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149406768131314.

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Lui, Hoi Ling. « Gender, emotions, and texts : writings to and about husbands in anthologies of Qing women's works ». HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1201.

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Liu, Wenjia 1981. « The tanci "Feng shuangfei" : A female perspective on the gender and sexual politics of late-Qing China ». Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11140.

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x, 276 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The late-Qing tanci "A Pair of Male Phoenixes Flying Together" (Feng shuangfei ; preface dated 1899) is unusual for its depiction of a wide variety of gender issues and sexual relationships. Because the 52-chapter work is credibly attributed to the female poet Cheng Huiying, who is known to have written the poetry collection Beichuang yin 'gao , the tanci gives scholars a unique opportunity to see how a gentry woman thought of the gender roles and sexual politics of the late Qing. My dissertation contains two major sections. Chapters I and II look at Cheng Huiying and her work as part of the `talented women" ( cainü ) culture. These two chapters demonstrate how Cheng Huiying deliberately establishes herself as a unique female writing subject and advocates women's agency in determining their own marriage arrangements. one of women's biggest concerns in premodern China. Chapters III to VI put Feng shuangfei into the larger context of male-authored fiction and examine how it adopts and rewrites the conventions and motifs common to xiaoshuo fiction from a female writer's perspective. I first argue that Feng shuangfei can be considered a serious literary work due to its sophisticated structural design and characterization, although tanci are usually considered as more popular literature. I then evaluate how the female author of this tanci subtly reinvents three gendered motifs that commonly appear in male-authored xiaoshuo fiction. The three motifs are male same-sex eroticism and homosociality, female same-sex desires, and the stereotypes of shrew and ideal wife. Through subtle twists in the plot, the tanci suggests the possibility of the expression of female subjectivity and agency within patriarchal Confucian society even while it follows and supports the normative Confucian order. The perspectives on gender norms and sexual practices offered in this tanci both display how a gentry woman thought about these issues in late imperial China and suggest how the rapid and vast social and ideological changes occurring during the turn of the century opened new spaces for Cheng Huiying to imagine increased agency and autonomy for women within the domestic sphere.
Committee in charge: Maram Epstein, Chairperson, East Asian Languages & Literature; Yugen Wang, Member, East Asian Languages & Literature; Tze-lan Sang, Member, East Asian Languages & Literature; Ina Asim, Outside Member, History

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黃嫣梨. « 兩漢主要女文學作家研究 ». Thesis, University of Macau, 1986. http://umaclib3.umac.mo/record=b1636204.

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張曈. « 論二十世紀九十年代女性私人化寫作 = The privatization of female 'personal' writings in the 1990s ». Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1636983.

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BISETTO, BARBARA. « La morte le si addice. Etica ed estetica del suicidio femminile nella Cina imperiale ». Doctoral thesis, Università Ca' Foscari Venezia, 2004. http://hdl.handle.net/10281/16890.

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My thesis offers a diachronic analysis of the portrayal of female suicide in traditional Chinese literature. Main sources of my research are: Confucian exempla from Han dynasty collected in the text Lienu zhuan (Biographies of Women) by Liu Xiang (79-8 a.C.); a selection of biographies of virtuous women (lienu) from the Ming dynasty collected in the Imperial Encyclopaedia Gujin tushu jicheng; and, as the main literary source, the anthology Qingshi leilue, published at the beginning of the XVIIth century and traditionally attributed to Feng Menglong (1574-1646). For the analysis of these sources, my thesis relies on a structuralist approach that aims to identify the continuity of the materials, and to determine the evolution of a unitary thinking on female suicide. Chapter I offers some introductory observations on the themes of deaths and suicide in China. Chapter II examines the meanings of the concepts of zhen (fidelity, chastity) and jie (integrity), and their evolution in the historical and didactic traditions. It focuses on the analysis of Liu Xiang's Lienu zhuan, and in particular of the fourth and fifth sections "Zhen Shun" (Purity and obedience) and "Jie yi" (Integrity and righteousness), in which suicidal acts figure more conspicuously. Chapter III analyses the development of the State-sponsored system of rewarding virtuous conduct, and its relation to the adoption of women's behaviour as a paradigm of virtue. In this system, the increasing emphasis on violence and suicide reflected an important shift in the ideological and social levels, which affected women, and above all widows, during the transition from Song to Ming dynasties. The spread of the chastity cult moved the attention on women' s behaviour from "intellectual virtues" to "moral virtues". On the representational level, it meant a larger attention to the registration of stories of suicide in response to acts of coercion (second marriage and sexual violence), considered as a violation of a woman's integrity. During the Ming, these stories became a favourite theme in literature, from memoirs to historiography, from fiction to drama. The second part of chapter III presents data from the analysis of a selection of Ming biographies of virtuous women, originally recorded in local gazetteers and later collected in the Encycloaedia Gujin tushu jicheng. It identifies a fixed set of narrative units characterized by a significant recurrence, and a model of basic structuring within each biography. In chapter IV, the research is widened to contain a selection of stories from the anthology Qingshi leilue and related original and derivative sources. On a structural level, it follows the model illustrated in chapter III, presenting a new investigation of the ideological system inherent in the stories. Results are summarized in a tentative analysis of four case studies. Defining the three key steps of the practice of writing on suicide, chapter V presents some final observations on its gradual movement from norm to fiction.

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Au, Kerrie Po Kiu Lin. « Chinese women and immigration ». Thesis, University of Liverpool, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250431.

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Fu, Lai-lee Charlotte, et 傅麗莉. « Identities of American Chinese women ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952598.

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Fu, Lai-lee Charlotte. « Identities of American Chinese women ». Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2219938X.

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Стрижак, Любов Олександрівна, et Н. М. Сиромля. « History of Chinese costume ». Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18267.

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Zheng, Runping. « Chinese academic women in economic transformation ». access full-text online access from Digital Dissertation Consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9640260.

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Cheung, Shuk-ting, et 張淑婷. « Validation of the psychological maltreatment of women inventory for Chinese women ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196490.

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In view of the lack of a culture-specific tool to measure psychological maltreatment comprehensively in Chinese women, this research study aims to validate the Psychological Maltreatment of Women Inventory (PMWI) for Chinese women. The validation was conducted in two phases: (a) preparation of the Revised Chinese PMWI and (b) full psychometric testing of the questionnaire. In the preparation phase, the PMWI was first revised taking into account the possible cultural differences between Chinese and non-Chinese women. In addition, given the changing nature of psychological maltreatment with the advent of mobile digital devices, supplementary items were added to keep the instrument in line with the expanding scope of this phenomenon. The revised PMWI included 67 items after revision, and was translated into Chinese by two bilingual translators using forward and back translation. The Revised Chinese PMWI was reviewed by a panel of intimate partner violence (IPV) experts in Hong Kong for the relevance of items to Chinese women, resulting in the scale-level content validity index of 0.94, which indicated the content validity was satisfactory. After adjustment of items based on the experts’ opinions, cognitive debriefing was conducted with a sample of 10 Chinese women to confirm the comprehensibility of the Revised Chinese PMWI by the target population. The last step in the preparation phase was assessment of test-retest reliability of the questionnaire among 37 Chinese women with a 2-week interval, which was shown to be satisfactory with an intraclass correlation coefficient over 0.95. The second phase of the validation process was the full psychometric testing of the Revised Chinese PMWI. The validation study included 1198 Chinese women who had been in intimate relationships during the preceding 12 months. Based on exploratory factor analysis, the questionnaire was reduced to 49 items. The test revealed two factors as the original English version, emotional-verbal and dominance-isolation, which were further verified by confirmatory factor analysis. In addition, known-groups validity was demonstrated by significant differences in scores between women recruited from different places (shelter as opposed to community center) and with different abuse histories (abused in past year, not abused but in distressed in relationships, or not abused in satisfactory relationships). Moreover, convergent validity was established through moderate-to-strong correlations of the Revised Chinese PMWI with measures assessing other forms of IPV, controlling behaviors, marital satisfaction, and depression. Trivial correlation with unrelated demographic variables (number of children and education level) indicated discriminant validity. Regarding reliability, the Revised Chinese PMWI showed good internal consistency. Cronbach’s alpha for each subscale ranged from 0.947 to 0.966 and was 0.975 for the entire tool. The use of the comprehensive validation procedures in the present study provided evidence for both cultural appropriateness and satisfactory psychometric properties of the Revised Chinese PMWI. It shows promise as a useful instrument in research and clinical practice to measure the experience of psychological maltreatment in intimate relationships in Chinese women.
published_or_final_version
Nursing Studies
Master
Master of Philosophy

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Lau, Ying. « Intimate partner abuse in Chinese pregnant women ». Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B31972846.

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Zhang, Heather Xiaoquan. « Maoism, the post-Mao reforms and the changing status of Chinese rural women : Chinese women speak for themselves ». Thesis, University of Strathclyde, 2001. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=26530.

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This study analyses the implications of the state development strategies of the past four decades for gender relations in rural China. Based on rural women's own perspectives, the research examines their gains and losses under the Mao and post-Mao development policies, and allows women themselves to define their needs, priorities and interests as against those defined by the state. The research reveals a fundamental collision of the Maoist urban-centred development strategy of agricultural collectivisation with the interests of rural women. It demonstrates as well an essential congruence of the ostensibly iconoclastic Cultural Revolution with the orthodox Confucian patriarchal familial and state systems, and thus oppressiveness for women. The post-Mao reorientation of the official development strategy has brought a gradual shift in the function of the state, leading to a changing relationship between the state and women. Rural women, in this process, have acted as agents of change in both defying the state-imposed restrictions and contesting the patriarchal gender rules that have posed constraints on their lives. Women's actions as such have constituted an unprecedented challenge to traditional values, gender expectations and the existing political, social and sexual orders. However, rural women's inroads into male-dominated occupations and their hopes for further empowerment through education, training and employment, and through political participation and representation have been impeded by the structural urban-rural cleavage, unequal gender power relations, traditional ideas and male prejudice, as well as inadequate government actions. Sexism has simply assumed new forms: the gendered allocation of rights, opportunities and resources in the marketplace. Women are more able now to organise their independent interests and exert pressure on the authorities. Meanwhile, the growing gender inequalities during the economic transition call for a bigger role of the state in guaranteeing social justice and gender equity in the fresh redistribution of rights and interests.

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