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Gender and Voice in Early Medieval C...

Hu, Qiulei.

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Gender and Voice in Early Medieval Chinese Poetry.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Gender and Voice in Early Medieval Chinese Poetry./
作者:	Hu, Qiulei.
面頁冊數:	319 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-09, Section: A, page: .
Contained By:	Dissertation Abstracts International72-09A.
標題:	Literature, Asian. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3462525
ISBN:	9781124747910

Gender and Voice in Early Medieval Chinese Poetry.
Hu, Qiulei.

Gender and Voice in Early Medieval Chinese Poetry. - 319 p.

Source: Dissertation Abstracts International, Volume: 72-09, Section: A, page: .

Thesis (Ph.D.)--Harvard University, 2011.

My dissertation explores literary representations of women and the phenomena of writing in the feminine voice in the poetry of early medieval China, a period roughly from the third to sixth century. I argue that this period is crucial in constructing and stabilizing gendered representations and gendered voices in Chinese poetry. I explore various ways by which early medieval poets and literary critics formulated and established conventions about gender. Moreover, the formulation of gendered voice in poetry was accompanied and influenced by other transformations in literature, such as the rise of the notion of authorship, the increasing need for individuality in poetic expression; as well as the newly-formed concept of poetic role-playing and self-fashioning. Gender is taken as a vantage point to look at the complex and dynamic world of literature and culture in early medieval China.

ISBN: 9781124747910Subjects--Topical Terms:

1017599
Literature, Asian.

Gender and Voice in Early Medieval Chinese Poetry.
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500 $a Source: Dissertation Abstracts International, Volume: 72-09, Section: A, page: .
500 $a Adviser: Stephen Owen.
502 $a Thesis (Ph.D.)--Harvard University, 2011.
520 $a My dissertation explores literary representations of women and the phenomena of writing in the feminine voice in the poetry of early medieval China, a period roughly from the third to sixth century. I argue that this period is crucial in constructing and stabilizing gendered representations and gendered voices in Chinese poetry. I explore various ways by which early medieval poets and literary critics formulated and established conventions about gender. Moreover, the formulation of gendered voice in poetry was accompanied and influenced by other transformations in literature, such as the rise of the notion of authorship, the increasing need for individuality in poetic expression; as well as the newly-formed concept of poetic role-playing and self-fashioning. Gender is taken as a vantage point to look at the complex and dynamic world of literature and culture in early medieval China.
520 $a Chapter One, "From Desire to Sympathy: Poetic Representations of Women through the Third Century" analyzes three different modes of female representation in Chinese poetry through the third century, namely, mediated representation, direct representation, and persona representation. My discussion focuses on the gendered gaze and spectator-spectacle dialectics in the portrayal of female images.
520 $a The second chapter, "Gender and Genre: The Making of the Feminine Voice in Poetry in the Five Syllable Line," explores male poets' construction of the feminine voice in poetry and the fascinating relationship between gender and genre reflected in this process.
520 $a Chapter Three is entitled "Solutions to 'Gender Trouble' in Early Medieval Chinese Poetry." It deals with gender ambiguity and indeterminacy in poetry before the third century and explores how stable gender markers came into increasing use between the third and sixth century.
520 $a The final chapter, "Singing Ghosts and Innocent Girls: Women as Cultural Other in Poetry of Early Southern Dynasties," focuses on the large-scale immigration of northern aristocrats to the south of the Yangzi River and their (re-)establishment of cultural authority after the year 317.
520 $a A discussion on the culturally constructed feminine voice will not be completed without an examination of literary compositions of real-life women in the early medieval period. In the epilogue, "Suppressed Voices of Women Poets," I show how a rich diversity of female voices in women's poetry was reduced to several relatively limited themes, among which the abandoned wife occupies a large portion.
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