| New Woman in Early Twentieth-Century Chinese Fiction Contributor(s): Feng, Jin (Author) |
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ISBN: 155753330X ISBN-13: 9781557533302 Publisher: Purdue University Press OUR PRICE: $34.60 Product Type: Paperback - Other Formats Published: July 2004 Annotation: In "The New Woman in Early Twentieth-century Chinese Fiction," Jin Feng discusses representations of women in May Fourth fiction, issues of gender, modernity, individualism, subjectivity, and narrative strategy. In this thought-provoking book about a crucial period of Chinese literature, Feng argues that male writers such as Lu Xun, Yu Dafu, Ba Jin, and Mao Dun created fictional women as mirror images of their own political inadequacy, but that at the same time this was also an egocentric ploy to affirm and highlight the modernity of the male author. This gender-biased attitude was translated into reality when women writers emerged. Whereas unfair, gender-biased criticism all but stifled the creative output of Bing Xin, Fang Yuanjun, and Lu Yin, Ding Ling's dogged attention to narrative strategy allowed her to maintain subjectivity and independence in her writings; that is until all writers were forced to write for the collective. |
| Additional Information |
| BISAC Categories: - Literary Criticism | Asian - Chinese - Social Science | Women's Studies - Literary Criticism | Feminist |
| Dewey: 895.135 |
| LCCN: 2004000626 |
| Series: Comparative Cultural Studies |
| Physical Information: 0.59" H x 6.28" W x 9.22" (0.91 lbs) 240 pages |
| Themes: - Sex & Gender - Feminine - Cultural Region - Chinese |
| Descriptions, Reviews, Etc. |
| Publisher Description: In The New Woman in Early Twentieth-Century Chinese Fiction, Jin Feng proposes that representation of the new woman in Communist Chinese fiction of the earlier twentieth century was paradoxically one of the ways in which male writers of the era explored, negotiated, and laid claim to their own emerging identity as modern intellectuals. Specifically, Feng argues that male writers such as Lu Xun, Yu Dafu, Ba Jin, and Mao Dun created fictional women as mirror images of their own political inadequacy, but that at the same time this was also an egocentric ploy to affirm and highlight the modernity of the male author. This gender-biased attitude was translated into reality when women writers emerged. Whereas unfair, gender-biased criticism all but stifled the creative output of Bing Xin, Fang Yuanjun, and Lu Yin, Ding Ling's dogged attention to narrative strategy allowed her to maintain subjectivity and independence in her writings; that is until all writers were forced to write for the collective. Feng addresses both the general and the specialized audience of fiction in early-twentieth-century Chinese fiction in three ways: for scholars of the May Fourth period, Feng redresses the emphasis on the simplistic, gender-neutral representation of the new women by re-reading selected texts in the light of marginalized discourse and by an analysis of the evolving strategies of narrative deployment; for those working in the area of feminism and literary studies, Feng develops a new method of studying the representation of Chinese women through an interrogation of narrative permutations, ideological discourses, and gender relationships; and for studies of modernity and modernization, the author presents a more complex picture of the relationships of modern Chinese intellectuals to their cultural past and of women writers to a literary tradition dominated by men. |
Contributor Bio(s): Feng, Jin: - Jin Feng obtained her PhD from the University of Michigan, Ann Arbor. Her areas of interest include: twentieth-century Chinese literature, the Chinese diaspora, narratology, comparative theory, and gender and women's studies. She teaches Chinese language and literature at Grinnell College in Grinnell, Iowa and is working on a new project focusing on narratives written by Chinese "foreign students" about their experiences in the United States. |