語系:
繁體中文
English
說明(常見問題)
回圖書館首頁
手機版館藏查詢
登入
回首頁
切換:
標籤
|
MARC模式
|
ISBD
Gender and Genre in the High Qing: D...
~
Moyer, Jessica Dvorak.
FindBook
Google Book
Amazon
博客來
Gender and Genre in the High Qing: Depictions of Feminine Sociability and Household Dynamics across Late Imperial Genres.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
Gender and Genre in the High Qing: Depictions of Feminine Sociability and Household Dynamics across Late Imperial Genres./
作者:
Moyer, Jessica Dvorak.
出版者:
Ann Arbor : ProQuest Dissertations & Theses, : 2015,
面頁冊數:
356 p.
附註:
Source: Dissertation Abstracts International, Volume: 76-11(E), Section: A.
Contained By:
Dissertation Abstracts International76-11A(E).
標題:
Asian literature. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3663636
ISBN:
9781321953398
Gender and Genre in the High Qing: Depictions of Feminine Sociability and Household Dynamics across Late Imperial Genres.
Moyer, Jessica Dvorak.
Gender and Genre in the High Qing: Depictions of Feminine Sociability and Household Dynamics across Late Imperial Genres.
- Ann Arbor : ProQuest Dissertations & Theses, 2015 - 356 p.
Source: Dissertation Abstracts International, Volume: 76-11(E), Section: A.
Thesis (Ph.D.)--Yale University, 2015.
This project compares texts by male authors on women's kin and household relationships to illuminate the role of genre in shaping textual discourse in 17th- and 18th-century China. Through an examination of ritual texts, exemplary biographies, elegies and personal biographies, morality books, and short and long vernacular fiction, this study shows the central role of genre in mediating debates around the construction of the family, which often took place between genres rather than between individual works. Chapter One describes Ming and Qing transformations of two Han dynasty classics, the "Nei ze" chapter from the Li ji and the Lienu zhuan. These works illustrate fundamental concepts of Chinese kinship such as the relative centrality of affection (qing ) and ritual propriety (li) in negotiating particular relationships. They also exemplify the different roles of prescriptive and narrative writing in offering visions of the idealized household. Finally, they illustrate different tactics for harmonizing tensions between Han and Ming-Qing norms of behavior, including commentary and rewriting, which offer new insights on the canon-commentary discursive formation. Chapter Two focuses on morality books and funerary writing. It centers on two author/editors, Chen Hongmou (1696-1771) and Shi Chengjin (1659-sometime after 1739), reading the statements on women in each man's morality books against the elegies and biographies that he wrote for individual women of his family. The contrasts between these kinds of writing reveal the strong influence of genre on the ideas expressed in a given text: qing and li emerge as organizing principles of genre formation. Comparing the two men with each other reveals the variety of strategies they used to create textual authority, including commentary, auto-commentary, and reliance on discourses of family and official hierarchy. Chapter Three turns to fiction, presenting close readings of one story from Du Gang's vernacular collection Yumu xingxin bian (1792), and three from the anonymous collection Xingmeng pianyan, each of which transforms a classical tale from Pu Songling's (1640--1715) Liaozhai zhiyi. All four stories attempt to harmonize qing and li, and they reveal organic connections between the vernacular idiom, the short story genre, and the gendered domestic space. The latter three stories, compared with their classical sources, demonstrate the linkage between rewriting and commentary and suggest defining characteristics of the chuanqi and huaben genres. Chapter Four analyzes depictions of the women's quarters in Honglou meng and two of its earliest sequels, Hou honglou meng (1796) and Honglou fumeng (1799). The scale of the novels corresponds to the vast household scale and complexity of family relationships they portray. The sequels respond to the parent novel as literary critiques, offering competing visions of what it means to be a novel as they both emulate and revise the metafictional play of Honglou meng. Their emphasis on tight plot is mirrored in their careful restructuring of the Jia mansion and family. Their resolutions of the parent novel's romantic tragedy combine elements of the discourses of qing as romantic passion and familial affection and of li as a source of order and stability. The dissertation as a whole shows how genre mediates social conflicts; reflects on commentary, rewriting, and sequeling; and re-centers vernacular fiction within Ming-Qing print culture.
ISBN: 9781321953398Subjects--Topical Terms:
2122707
Asian literature.
Gender and Genre in the High Qing: Depictions of Feminine Sociability and Household Dynamics across Late Imperial Genres.
LDR
:04402nmm a2200277 4500
001
2054869
005
20170424144345.5
008
170519s2015 ||||||||||||||||| ||eng d
020
$a
9781321953398
035
$a
(MiAaPQ)AAI3663636
035
$a
AAI3663636
040
$a
MiAaPQ
$c
MiAaPQ
100
1
$a
Moyer, Jessica Dvorak.
$3
3168448
245
1 0
$a
Gender and Genre in the High Qing: Depictions of Feminine Sociability and Household Dynamics across Late Imperial Genres.
260
1
$a
Ann Arbor :
$b
ProQuest Dissertations & Theses,
$c
2015
300
$a
356 p.
500
$a
Source: Dissertation Abstracts International, Volume: 76-11(E), Section: A.
500
$a
Adviser: Tina Lu.
502
$a
Thesis (Ph.D.)--Yale University, 2015.
520
$a
This project compares texts by male authors on women's kin and household relationships to illuminate the role of genre in shaping textual discourse in 17th- and 18th-century China. Through an examination of ritual texts, exemplary biographies, elegies and personal biographies, morality books, and short and long vernacular fiction, this study shows the central role of genre in mediating debates around the construction of the family, which often took place between genres rather than between individual works. Chapter One describes Ming and Qing transformations of two Han dynasty classics, the "Nei ze" chapter from the Li ji and the Lienu zhuan. These works illustrate fundamental concepts of Chinese kinship such as the relative centrality of affection (qing ) and ritual propriety (li) in negotiating particular relationships. They also exemplify the different roles of prescriptive and narrative writing in offering visions of the idealized household. Finally, they illustrate different tactics for harmonizing tensions between Han and Ming-Qing norms of behavior, including commentary and rewriting, which offer new insights on the canon-commentary discursive formation. Chapter Two focuses on morality books and funerary writing. It centers on two author/editors, Chen Hongmou (1696-1771) and Shi Chengjin (1659-sometime after 1739), reading the statements on women in each man's morality books against the elegies and biographies that he wrote for individual women of his family. The contrasts between these kinds of writing reveal the strong influence of genre on the ideas expressed in a given text: qing and li emerge as organizing principles of genre formation. Comparing the two men with each other reveals the variety of strategies they used to create textual authority, including commentary, auto-commentary, and reliance on discourses of family and official hierarchy. Chapter Three turns to fiction, presenting close readings of one story from Du Gang's vernacular collection Yumu xingxin bian (1792), and three from the anonymous collection Xingmeng pianyan, each of which transforms a classical tale from Pu Songling's (1640--1715) Liaozhai zhiyi. All four stories attempt to harmonize qing and li, and they reveal organic connections between the vernacular idiom, the short story genre, and the gendered domestic space. The latter three stories, compared with their classical sources, demonstrate the linkage between rewriting and commentary and suggest defining characteristics of the chuanqi and huaben genres. Chapter Four analyzes depictions of the women's quarters in Honglou meng and two of its earliest sequels, Hou honglou meng (1796) and Honglou fumeng (1799). The scale of the novels corresponds to the vast household scale and complexity of family relationships they portray. The sequels respond to the parent novel as literary critiques, offering competing visions of what it means to be a novel as they both emulate and revise the metafictional play of Honglou meng. Their emphasis on tight plot is mirrored in their careful restructuring of the Jia mansion and family. Their resolutions of the parent novel's romantic tragedy combine elements of the discourses of qing as romantic passion and familial affection and of li as a source of order and stability. The dissertation as a whole shows how genre mediates social conflicts; reflects on commentary, rewriting, and sequeling; and re-centers vernacular fiction within Ming-Qing print culture.
590
$a
School code: 0265.
650
4
$a
Asian literature.
$3
2122707
690
$a
0305
710
2
$a
Yale University.
$3
515640
773
0
$t
Dissertation Abstracts International
$g
76-11A(E).
790
$a
0265
791
$a
Ph.D.
792
$a
2015
793
$a
English
856
4 0
$u
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3663636
筆 0 讀者評論
館藏地:
全部
電子資源
出版年:
卷號:
館藏
1 筆 • 頁數 1 •
1
條碼號
典藏地名稱
館藏流通類別
資料類型
索書號
使用類型
借閱狀態
預約狀態
備註欄
附件
W9287348
電子資源
11.線上閱覽_V
電子書
EB
一般使用(Normal)
在架
0
1 筆 • 頁數 1 •
1
多媒體
評論
新增評論
分享你的心得
Export
取書館
處理中
...
變更密碼
登入