The Ming–Qing dynastic transition in seventeenth-century China was an epochal event that reverberated in Qing writings and beyond; political disorder was bound up with vibrant literary and cultural production. Women and National Trauma in Late Imperial Chinese Literature focuses on the discursive and imaginative space commanded by women. Encompassing writings by women and by me...
The Ming–Qing dynastic transition in seventeenth-century China was an epochal event that reverberated in Qing writings and beyond; political disorder was bound up with vibrant literary and cultural production. Women and National Trauma in Late Imperial Chinese Literature focuses on the discursive and imaginative space commanded by women. Encompassing writings by women and by men writing in a feminine voice or assuming a female identity, as well as writings that turn women into a signifier through which authors convey their lamentation, nostalgia, or moral questions for the fallen Ming, the book delves into the mentality of those who remembered or reflected on the dynastic transition, as well as those who reinvented its significance in later periods. It shows how history and literature intersect, how conceptions of gender mediate the experience and expression of political disorder.
Why and how are variations on themes related to gender boundaries, female virtues, vices, agency, and ethical dilemmas used to allegorize national destiny? In pursuing answers to these questions, Wai-yee Li explores how this multivalent presence of women in different genres provides a window into the emotional and psychological turmoil of the Ming-Qing transition and of subsequent moments of national trauma.
作者简介
· · · · · ·
Wai-yee Li is Professor of Chinese Literature at Harvard University.
It is fitting, therefore, that this book should begin with chapters exploring the relationship between gender and boundaries. I am not interested in defining quintessentially (or even historically evolving) male and female voices. The terms “feminine” and “masculine” are but pointers to their usual imagistic associations in conventional critical writings. The more pertinent issue is how shifts in gender roles test the boundaries of imagining and representing experience. (查看原文)
None of these traits are uniquely “gendered”—male poets in this period often maneuvered similar rhetorical moves. One difference maybe that he could rely more confidently on the contexts of history, biography, and literary tradition for his allegorical intention to be understood and could therefore afford to be more indirect. Further, while the fusion of romantic longing and political vision is ubiquitous in the Chinese tradition, the reader tends to read the conjunction more literally in the case of female poets. For example, the quest of the goddess or the plaint of the abandoned woman would likely be interpreted as a metaphor for political ambition and disappointment in poetry by men, while the expression of romantic disappointment in poetry by women would probably be read as descripti... (查看原文)
Harvard-Yenching Institute Monograph Series (共81册),
这套丛书还有
《Drifting among Rivers and Lakes》,《Beacon Fire and Shooting Star》,《Shrines to Living Men in the Ming Political Cosmos》,《Feeling the Past in Seventeenth-Century China》,《Making Personas》 等。
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这本书给我的感觉是框架和论点其实比较简单，但材料十分充实的作品。这本书主要从女性的形象、女性的创作等等方面来考察明清之交的文学书写，但反而因为如此有所局限了。关于这一时间段，我感觉在她早年的Enchantment and Disenchantment那本书里的第二章，Late－Ming Moment，那才是短小精悍，见人所未见，而且完美地铺开了对于文学美学幻想和现实反省立场的紧张，为后面红楼梦研究...这本书给我的感觉是框架和论点其实比较简单，但材料十分充实的作品。这本书主要从女性的形象、女性的创作等等方面来考察明清之交的文学书写，但反而因为如此有所局限了。关于这一时间段，我感觉在她早年的Enchantment and Disenchantment那本书里的第二章，Late－Ming Moment，那才是短小精悍，见人所未见，而且完美地铺开了对于文学美学幻想和现实反省立场的紧张，为后面红楼梦研究打下基础。而这本书绕来绕去不过就那几个惯常的论点，创伤啊、父权啊什么的。(展开)
这本书给我的感觉是框架和论点其实比较简单，但材料十分充实的作品。这本书主要从女性的形象、女性的创作等等方面来考察明清之交的文学书写，但反而因为如此有所局限了。关于这一时间段，我感觉在她早年的Enchantment and Disenchantment那本书里的第二章，Late－Ming Moment，那才是短小精悍，见人所未见，而且完美地铺开了对于文学美学幻想和现实反省立场的紧张，为后面红楼梦研究...这本书给我的感觉是框架和论点其实比较简单，但材料十分充实的作品。这本书主要从女性的形象、女性的创作等等方面来考察明清之交的文学书写，但反而因为如此有所局限了。关于这一时间段，我感觉在她早年的Enchantment and Disenchantment那本书里的第二章，Late－Ming Moment，那才是短小精悍，见人所未见，而且完美地铺开了对于文学美学幻想和现实反省立场的紧张，为后面红楼梦研究打下基础。而这本书绕来绕去不过就那几个惯常的论点，创伤啊、父权啊什么的。(展开)
It is fitting, therefore, that this book should begin with chapters exploring the relationship between gender and boundaries. I am not interested in defining quintessentially (or even historically evolving) male and female voices. The terms “feminine” and “masculine” are but pointers to their usual imagistic associations in conventional critical writings. The more pertinent issue is how shi...
2020-11-03 15:24:102人喜欢
It is fitting, therefore, that this book should begin with chapters exploring the relationship between gender and boundaries. I am not interested in defining quintessentially (or even historically evolving) male and female voices. The terms “feminine” and “masculine” are but pointers to their usual imagistic associations in conventional critical writings. The more pertinent issue is how shifts in gender roles test the boundaries of imagining and representing experience. 引自第4页
More generally, there are many instances of unstable boundaries in this book, we see a thin and shifting line between, for example,the hero and the victim, the avenger and the mourner, the powerless dead and the martial ghost, the courtesan and the poet-historian, the femme fatale and the potential savior of the realm, the chastity martyrand the patriot, the Ming loyalist and the Qing loyalist....
2020-07-31 21:53:41
More generally, there are many instances of unstable boundaries in this book, we see a thin and shifting line between, for example,the hero and the victim, the avenger and the mourner, the powerless dead and the martial ghost, the courtesan and the poet-historian, the femme fatale and the potential savior of the realm, the chastity martyrand the patriot, the Ming loyalist and the Qing loyalist. In some cases multiple iterations bear the imprint of authors with different agendasas in the case of Chen Yuanyuan, Lin Siniang, or"Du Xiaoying" and Song Huixiang. In other examples, shifting boundaries testify to courageous choices of historical figures and the projected self-transformation of authors who eulogize them, as with the courtesansand concubines....引自第580页
This is the obverse side of politicized chastity—abject pandering to the conquerors is sexualized through gender reversal as licentiousness and betrayal whose metaphor is playacting. 男性裝扮成女性，特別是那些女扮男裝的女性的性別跨界在政治隱喻中的意義揭示。
2020-07-28 16:35:46
This is the obverse side of politicized chastity—abject pandering to the conquerors is sexualized through gender reversal as licentiousness and betrayal whose metaphor is playacting.
引自第461页
It is fitting, therefore, that this book should begin with chapters exploring the relationship between gender and boundaries. I am not interested in defining quintessentially (or even historically evolving) male and female voices. The terms “feminine” and “masculine” are but pointers to their usual imagistic associations in conventional critical writings. The more pertinent issue is how shi...
2020-11-03 15:24:102人喜欢
It is fitting, therefore, that this book should begin with chapters exploring the relationship between gender and boundaries. I am not interested in defining quintessentially (or even historically evolving) male and female voices. The terms “feminine” and “masculine” are but pointers to their usual imagistic associations in conventional critical writings. The more pertinent issue is how shifts in gender roles test the boundaries of imagining and representing experience. 引自第4页
More generally, there are many instances of unstable boundaries in this book, we see a thin and shifting line between, for example,the hero and the victim, the avenger and the mourner, the powerless dead and the martial ghost, the courtesan and the poet-historian, the femme fatale and the potential savior of the realm, the chastity martyrand the patriot, the Ming loyalist and the Qing loyalist....
2020-07-31 21:53:41
More generally, there are many instances of unstable boundaries in this book, we see a thin and shifting line between, for example,the hero and the victim, the avenger and the mourner, the powerless dead and the martial ghost, the courtesan and the poet-historian, the femme fatale and the potential savior of the realm, the chastity martyrand the patriot, the Ming loyalist and the Qing loyalist. In some cases multiple iterations bear the imprint of authors with different agendasas in the case of Chen Yuanyuan, Lin Siniang, or"Du Xiaoying" and Song Huixiang. In other examples, shifting boundaries testify to courageous choices of historical figures and the projected self-transformation of authors who eulogize them, as with the courtesansand concubines....引自第580页
This is the obverse side of politicized chastity—abject pandering to the conquerors is sexualized through gender reversal as licentiousness and betrayal whose metaphor is playacting. 男性裝扮成女性，特別是那些女扮男裝的女性的性別跨界在政治隱喻中的意義揭示。
2020-07-28 16:35:46
This is the obverse side of politicized chastity—abject pandering to the conquerors is sexualized through gender reversal as licentiousness and betrayal whose metaphor is playacting.
引自第461页
It is fitting, therefore, that this book should begin with chapters exploring the relationship between gender and boundaries. I am not interested in defining quintessentially (or even historically evolving) male and female voices. The terms “feminine” and “masculine” are but pointers to their usual imagistic associations in conventional critical writings. The more pertinent issue is how shi...
2020-11-03 15:24:102人喜欢
It is fitting, therefore, that this book should begin with chapters exploring the relationship between gender and boundaries. I am not interested in defining quintessentially (or even historically evolving) male and female voices. The terms “feminine” and “masculine” are but pointers to their usual imagistic associations in conventional critical writings. The more pertinent issue is how shifts in gender roles test the boundaries of imagining and representing experience. 引自第4页
More generally, there are many instances of unstable boundaries in this book, we see a thin and shifting line between, for example,the hero and the victim, the avenger and the mourner, the powerless dead and the martial ghost, the courtesan and the poet-historian, the femme fatale and the potential savior of the realm, the chastity martyrand the patriot, the Ming loyalist and the Qing loyalist....
2020-07-31 21:53:41
More generally, there are many instances of unstable boundaries in this book, we see a thin and shifting line between, for example,the hero and the victim, the avenger and the mourner, the powerless dead and the martial ghost, the courtesan and the poet-historian, the femme fatale and the potential savior of the realm, the chastity martyrand the patriot, the Ming loyalist and the Qing loyalist. In some cases multiple iterations bear the imprint of authors with different agendasas in the case of Chen Yuanyuan, Lin Siniang, or"Du Xiaoying" and Song Huixiang. In other examples, shifting boundaries testify to courageous choices of historical figures and the projected self-transformation of authors who eulogize them, as with the courtesansand concubines....引自第580页
This is the obverse side of politicized chastity—abject pandering to the conquerors is sexualized through gender reversal as licentiousness and betrayal whose metaphor is playacting. 男性裝扮成女性，特別是那些女扮男裝的女性的性別跨界在政治隱喻中的意義揭示。
2020-07-28 16:35:46
This is the obverse side of politicized chastity—abject pandering to the conquerors is sexualized through gender reversal as licentiousness and betrayal whose metaphor is playacting.
引自第461页
5 有用 Alan 2015-02-08 10:10:03
这本书给我的感觉是框架和论点其实比较简单，但材料十分充实的作品。这本书主要从女性的形象、女性的创作等等方面来考察明清之交的文学书写，但反而因为如此有所局限了。关于这一时间段，我感觉在她早年的Enchantment and Disenchantment那本书里的第二章，Late－Ming Moment，那才是短小精悍，见人所未见，而且完美地铺开了对于文学美学幻想和现实反省立场的紧张，为后面红楼梦研究... 这本书给我的感觉是框架和论点其实比较简单，但材料十分充实的作品。这本书主要从女性的形象、女性的创作等等方面来考察明清之交的文学书写，但反而因为如此有所局限了。关于这一时间段，我感觉在她早年的Enchantment and Disenchantment那本书里的第二章，Late－Ming Moment，那才是短小精悍，见人所未见，而且完美地铺开了对于文学美学幻想和现实反省立场的紧张，为后面红楼梦研究打下基础。而这本书绕来绕去不过就那几个惯常的论点，创伤啊、父权啊什么的。 (展开)
0 有用 Adieudusk 2016-03-19 05:11:23
需要重读
1 有用 佟j 2018-09-12 10:13:58
细解明清易代之际的灾难中，文人以女性为媒介书写国族伤痛的文学传统，文学作品中的人物、意象、修辞如何在历史情境中发生发展。这次易代之际的民族创伤如此深刻并保留在书写中，以至于后世在遭遇历次动荡：太平天国、清末革命、中日战争时，各类书写会不断回顾明清易代之际去征用其修辞表达政治立场、理想和焦虑。特别是二十世纪中国的文化乡愁——对于那个被战争、现代性、革命摧毁的失落的世界——经常在明代的覆灭中发现隐喻。... 细解明清易代之际的灾难中，文人以女性为媒介书写国族伤痛的文学传统，文学作品中的人物、意象、修辞如何在历史情境中发生发展。这次易代之际的民族创伤如此深刻并保留在书写中，以至于后世在遭遇历次动荡：太平天国、清末革命、中日战争时，各类书写会不断回顾明清易代之际去征用其修辞表达政治立场、理想和焦虑。特别是二十世纪中国的文化乡愁——对于那个被战争、现代性、革命摧毁的失落的世界——经常在明代的覆灭中发现隐喻。我个人想单独指出的是，书里第二章特别探讨了这次政治失序如何在女性书写中转变性别角色。其中一点，男文人已形成假借闺音植入政治隐喻的传统，比如写个柳别人就会解读出其中的政治意涵，但是女作者写个柳就被认为她就是在写柳，没别的，所以女性只好另辟新的写作范式，索性直叙见闻，以表达对社会、政治的感触。 (展开)
0 有用 離微 2017-04-12 13:11:28
2016年西雅圖AAS上獲得列文森獎
0 有用 傻白甜姚姚 2015-08-24 10:57:09
砖头一样厚，前面framework巨好，然而一开始读诗词我就一个头两个大，果然我还是爱现当代文学。。。
0 有用 鶴望 2022-01-02 15:53:24
第8年了还是没有中译版，时间过得好快哦
1 有用 廢匪肥·老🐰 2020-07-31 22:27:52
「身無可戀甘為鬼，國到難興願化煙」。以明清易代的國族創傷中女性身體、意志、話語、抉擇為探究對象，通過豐富/冗雜的歷史文獻與文學加以文本細讀從而細緻呈現性別越界上的社會文化觀念的折現與新構，觀點多得如逛大觀園，詞彙使用諸多標新，以至於始終屏住呼吸聆聽父權與國難雙重壓制的女性聲音。🚩 #讀而靈#110
0 有用 你才是神经病 2019-04-02 19:36:36
这本书给我的感觉是框架和论点其实比较简单，但材料十分充实的作品。这本书主要从女性的形象、女性的创作等等方面来考察明清之交的文学书写，但反而因为如此有所局限了。关于这一时间段，我感觉在她早年的Enchantment and Disenchantment那本书里的第二章，Late－Ming Moment，那才是短小精悍，见人所未见，而且完美地铺开了对于文学美学幻想和现实反省立场的紧张，为后面红楼梦研究... 这本书给我的感觉是框架和论点其实比较简单，但材料十分充实的作品。这本书主要从女性的形象、女性的创作等等方面来考察明清之交的文学书写，但反而因为如此有所局限了。关于这一时间段，我感觉在她早年的Enchantment and Disenchantment那本书里的第二章，Late－Ming Moment，那才是短小精悍，见人所未见，而且完美地铺开了对于文学美学幻想和现实反省立场的紧张，为后面红楼梦研究打下基础。而这本书绕来绕去不过就那几个惯常的论点，创伤啊、父权啊什么的。 (展开)
1 有用 Gillian 2018-10-28 01:37:48
里面提到的cross-gender挺有意思，当gender成为一种表达后，用来维系社交圈、友谊等等的观点非常有意思。看的时候诗歌的分析会很distract读者注意力，但还是很佩服作者可以把每首诗都这样来翻译、分析。
1 有用 佟j 2018-09-12 10:13:58
细解明清易代之际的灾难中，文人以女性为媒介书写国族伤痛的文学传统，文学作品中的人物、意象、修辞如何在历史情境中发生发展。这次易代之际的民族创伤如此深刻并保留在书写中，以至于后世在遭遇历次动荡：太平天国、清末革命、中日战争时，各类书写会不断回顾明清易代之际去征用其修辞表达政治立场、理想和焦虑。特别是二十世纪中国的文化乡愁——对于那个被战争、现代性、革命摧毁的失落的世界——经常在明代的覆灭中发现隐喻。... 细解明清易代之际的灾难中，文人以女性为媒介书写国族伤痛的文学传统，文学作品中的人物、意象、修辞如何在历史情境中发生发展。这次易代之际的民族创伤如此深刻并保留在书写中，以至于后世在遭遇历次动荡：太平天国、清末革命、中日战争时，各类书写会不断回顾明清易代之际去征用其修辞表达政治立场、理想和焦虑。特别是二十世纪中国的文化乡愁——对于那个被战争、现代性、革命摧毁的失落的世界——经常在明代的覆灭中发现隐喻。我个人想单独指出的是，书里第二章特别探讨了这次政治失序如何在女性书写中转变性别角色。其中一点，男文人已形成假借闺音植入政治隐喻的传统，比如写个柳别人就会解读出其中的政治意涵，但是女作者写个柳就被认为她就是在写柳，没别的，所以女性只好另辟新的写作范式，索性直叙见闻，以表达对社会、政治的感触。 (展开)