東華大學圖書館 |

Love, Gender and Reception in Double Seventh Literature.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Love, Gender and Reception in Double Seventh Literature./
作者:	Friends, Mary Ellen.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
面頁冊數:	305 p.
附註:	Source: Dissertations Abstracts International, Volume: 81-03, Section: A.
Contained By:	Dissertations Abstracts International81-03A.
標題:	Gender studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13809352
ISBN:	9781085777599

Love, Gender and Reception in Double Seventh Literature.
Friends, Mary Ellen.

Love, Gender and Reception in Double Seventh Literature. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 305 p.

Source: Dissertations Abstracts International, Volume: 81-03, Section: A.

Thesis (Ph.D.)--Yale University, 2019.

This item must not be sold to any third party vendors.

This project examines the development of the Chinese Double Seventh or "Herdboy and Weaver Girl" literary tradition in the context of reader reception and as it relates to gender. Chapter One reviews origin poems of the Double Seventh poetic tradition and identifies four traditional categories of Double Seventh love poems: "Glorious Meeting," "Bittersweet Reunion," "Misery of Separation" and "Vows of Eternal Love." Chapter Two explores the way that poets-particularly the ones scholars have traditionally identified as "great," but also some whose work lies outside the traditional canon-both reinforce and subvert traditional Double Seventh categories through the laws of intertextuality. The chapter additionally addresses problems of reception and gender in light of a traditional inclination to read Chinese poetry autobiographically as well as the intensification of that inclination when both the author of a Double Seventh poem and the poem's persona are women. Chapter Three compares the literary use of the Herdboy and Weaver Girl Stars to the use in Chinese literature of other celestial objects, in particular the Moon Goddess Chang E, and the estranged star-brothers Shang (Antares) and Shen (Orion). The comparisons suggest why poems (even ones not written on the Festival of the Double Seventh) might feature Herdboy and Weaver Girl themes, and how the choice influences reader reception. Chapter Four focuses primarily on literary themes of the Weaver Girl and her weaving. It includes a Weaver-focused rereading of texts of literary criticism and writing about "women's work," and it offers a new reading of the character Qiaojie ("Clever Girl") in Story of the Stone (Dream of the Red Chamber). It investigates the ability of women to identify with the talented or clever Weaver Girl because of her work, in light of ongoing conversations about what sort of industry a talented girl or woman ought to pursue, and with respect to the ways in which the Chinese literary tradition is set up to allow women (especially in the late Imperial period) to connect with the Weaver Girl by imagining her textiles as texts and her golden needle as a metaphor for a writing brush.The dissertation as a whole shows how later Double Seventh poems, through the laws of intertextuality, critically influence readers' reception of origin texts and imbue them with meaning that is almost certainly more complex than the meaning received by their earliest readers. It shows that, over time, the original Weaver Girl's "unfinished pattern" may be received by readers as metaphor for patterns of words-and especially women's words-on silk or paper. The project also describes a unique four-part relationship between the Double Seventh and women writers. First, the central Double Seventh figure of the Heavenly Weaver Girl creates for women an almost literal connection to the common trope in Chinese literary theory of weaving as a metaphor for writing. Second, the Weaver Girl, when depicted as ceaselessly working, provides a model of productive virtue that literate women can point to whether they set aside traditional household tasks and devote themselves single-mindedly to the weaving of words or, as was the case for many women in late Imperial China, engaged both in textile-creating activities and in writing. Third, the relationship between Seventh Night and women writers is made stronger through the double ("Lover's Night" and "Begging for Skills Night") nature of traditional Double Seventh festivities because the confluence of activities eventually opens the way for women to beg the Weaver Girl for skill in writing. Fourth, the Weaver Girl Star, as an anthropomorphized producer of "Heaven's Patterns," is connected to the human writer's act of manifesting those same patterns in the form of poetry or other literature. The Heavenly Weaver Girl is thus not just any weaver whose textile work might be interpreted metaphorically as textual production; for women readers and writers she is the most identifiable creator of the very patterns that, in literary theory, provide fundamental inspiration for the creation of literature.

ISBN: 9781085777599Subjects--Topical Terms:

2122708
Gender studies.
Subjects--Index Terms:

Chinese women writers

Love, Gender and Reception in Double Seventh Literature.
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100 1 $a Friends, Mary Ellen. $3 3547744
245 1 0 $a Love, Gender and Reception in Double Seventh Literature.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2019
300 $a 305 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-03, Section: A.
500 $a Advisor: Chang, Kang-i Sun.
502 $a Thesis (Ph.D.)--Yale University, 2019.
506 $a This item must not be sold to any third party vendors.
520 $a This project examines the development of the Chinese Double Seventh or "Herdboy and Weaver Girl" literary tradition in the context of reader reception and as it relates to gender. Chapter One reviews origin poems of the Double Seventh poetic tradition and identifies four traditional categories of Double Seventh love poems: "Glorious Meeting," "Bittersweet Reunion," "Misery of Separation" and "Vows of Eternal Love." Chapter Two explores the way that poets-particularly the ones scholars have traditionally identified as "great," but also some whose work lies outside the traditional canon-both reinforce and subvert traditional Double Seventh categories through the laws of intertextuality. The chapter additionally addresses problems of reception and gender in light of a traditional inclination to read Chinese poetry autobiographically as well as the intensification of that inclination when both the author of a Double Seventh poem and the poem's persona are women. Chapter Three compares the literary use of the Herdboy and Weaver Girl Stars to the use in Chinese literature of other celestial objects, in particular the Moon Goddess Chang E, and the estranged star-brothers Shang (Antares) and Shen (Orion). The comparisons suggest why poems (even ones not written on the Festival of the Double Seventh) might feature Herdboy and Weaver Girl themes, and how the choice influences reader reception. Chapter Four focuses primarily on literary themes of the Weaver Girl and her weaving. It includes a Weaver-focused rereading of texts of literary criticism and writing about "women's work," and it offers a new reading of the character Qiaojie ("Clever Girl") in Story of the Stone (Dream of the Red Chamber). It investigates the ability of women to identify with the talented or clever Weaver Girl because of her work, in light of ongoing conversations about what sort of industry a talented girl or woman ought to pursue, and with respect to the ways in which the Chinese literary tradition is set up to allow women (especially in the late Imperial period) to connect with the Weaver Girl by imagining her textiles as texts and her golden needle as a metaphor for a writing brush.The dissertation as a whole shows how later Double Seventh poems, through the laws of intertextuality, critically influence readers' reception of origin texts and imbue them with meaning that is almost certainly more complex than the meaning received by their earliest readers. It shows that, over time, the original Weaver Girl's "unfinished pattern" may be received by readers as metaphor for patterns of words-and especially women's words-on silk or paper. The project also describes a unique four-part relationship between the Double Seventh and women writers. First, the central Double Seventh figure of the Heavenly Weaver Girl creates for women an almost literal connection to the common trope in Chinese literary theory of weaving as a metaphor for writing. Second, the Weaver Girl, when depicted as ceaselessly working, provides a model of productive virtue that literate women can point to whether they set aside traditional household tasks and devote themselves single-mindedly to the weaving of words or, as was the case for many women in late Imperial China, engaged both in textile-creating activities and in writing. Third, the relationship between Seventh Night and women writers is made stronger through the double ("Lover's Night" and "Begging for Skills Night") nature of traditional Double Seventh festivities because the confluence of activities eventually opens the way for women to beg the Weaver Girl for skill in writing. Fourth, the Weaver Girl Star, as an anthropomorphized producer of "Heaven's Patterns," is connected to the human writer's act of manifesting those same patterns in the form of poetry or other literature. The Heavenly Weaver Girl is thus not just any weaver whose textile work might be interpreted metaphorically as textual production; for women readers and writers she is the most identifiable creator of the very patterns that, in literary theory, provide fundamental inspiration for the creation of literature.
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650 4 $a Gender studies. $3 2122708
650 4 $a Womens studies. $3 2122688
650 4 $a Asian literature. $3 2122707
653 $a Chinese women writers
653 $a Chinese Double Seventh
653 $a Intertextuality
653 $a Reception
653 $a Herdboy and Weaver Girl
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690 $a 0305
710 2 $a Yale University. $b East Asian Languages and Literatures. $3 2093394
773 0 $t Dissertations Abstracts International $g 81-03A.
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791 $a Ph.D.
792 $a 2019
793 $a English
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