20th-century writers and feminism
editThe spectre of the Chinese revolution emerged from the chaotic period of decades after the British Opium War in 1840 and the subsequent imperialist invasion.[1]
For the Chinese, the necessity of "becoming a modern person" stems from the state of emergency. Then came the revelation of 1911. This signifies the material conditions of Chinese society and the vision of the critical imagination of these women.[1]
Women writers in Modern China
editLu Yin (1898 ~ 1934), formerly known as Huang Shuyi, also known as Huang Ying, was born in Fujian Province. She was a famous writer in the May Fourth Period. She was also known as the three Talented Women of Fuzhou, together with Bing Xin, Lin Huiyin. She was a modern Chinese writer, employed various vernacular genres to explore women's living conditions at the turn of the twentieth century. [2] Lu Yin has the perspective of feminism and writing conceptualization. She employed redefinition and diary fiction as major rhetorical strategies to challenge the sexist assumptions in the prevailing patriarchal discourses and empower Chinese women.[3]
Xie Wanying (1900 ~ 1999), better known by her pen name Bing Xin (Chinese: 冰心) or Xie Bingxin, was one of the most prolific Chinese writers the 20th century. Many of her works were written for young readers. She was the chairperson of the China Federation of Literary and Art Circles. Her pen name Bing Xin carries the meaning of a morally pure heart and is taken from a line in a Tang Dynasty poem by Wang Changling.
Shi Pingmei (1902 ~ 1928), China's modern female revolutionary activist, one of the four talented women. She‘s real name is Ru Bi, and because of the love of the plum blossom, her pen name was Shi Pingmei. [4]She was born in 1902 in Pingding, Shanxi Province. In 1919, She was enthusiastic about literary creation when she studied at Beijing Women's Teaching College In September 1923, in the supplement of the morning newspaper, serialize a long travel note. In 1924, edited with close friend Lu Jingqing, Beijing News Supplement "Women's Weekly". In 1926, she continued to co-edit the World Daily Supplement with Lu Jingqing. Qiangzang Weekly, Died of illness on September 30, 1928[5]
Ding Ling (1904 ~ 1986), She was Graduated from The Department of Chinese Literature of Shanghai University, a Member of the Communist Party of China, a famous writer, social activist. In November 1936, Ding Ling arrived in northern Shanxi and was the first scholar to come to Yan' an. [6]
Xiao Hong (1911 ~ 1942) was a Chinese writer. She also used the pen name, Qiao Yin. Xiao Hong is a female writer with a unique artistic style. She is unique in literature history with her mixed emotional tone, hard and soft language style. Xiao Hong is a typical female youth in literature with her exceptional writing perspective and writing structure in her works.[7]
Eileen Chang (1920 ~ 1995), formerly known as Zhang Ying, pen name Liang Jing, was born in Shanghai. She is a modern Chinese female writer. One of her famous works is "The Red Rose and the White Rose." [7] Eileen Chang is a uniquely charming writer in the history of modern Chinese literature. Her life-long creation involves novels, essays, and script reviews, among which novels have achieved the highest achievement. Her novels show personal characteristics in material selection, conception, characterization, narrative structure and language skills. She has expanded a new horizon of female criticism and a new world of female literature.[7]
San Mao (1943 ~ 1991), a well-known Taiwan female writer and traveller, used to be named Chen Maoping and later changed to Chen Ping, a native of Zhejiang. Born in Chongqing in 1943.[8] In 1948, he moved to Taiwan with his parents. In 1967, he went to Spain to study and later went to Germany and the United States. In 1973, he settled in the Spanish Sahara and married Jose. After returning to Taiwan in 1981, he taught at the Cultural University and resigned in 1984 to focus on writing and speech.[9] Sanmao's works have real emotions, without too much decoration, but show the original appearance of life and the wisdom and interest in life. In her works, there is no romance described in general love works, but more practical.[1]
Reference
edit- ^ a b c Yan, Haiping (2006-11-22). Chinese Women Writers and the Feminist Imagination, 1905-1948. Routledge. ISBN 978-1-134-57089-8.
- ^ Feng, Jin (2004-12-01). "The New Woman in Early Twentieth-Century Chinese Fiction". CLCWeb: Comparative Literature and Culture. 6 (4). doi:10.7771/1481-4374.1251. ISSN 1481-4374.
- ^ Wang, Bo (2009-06-12). ""Breaking the Age of Flower Vases":Lu Yin's Feminist Rhetoric". Rhetoric Review. 28 (3): 246–264. doi:10.1080/07350190902958719. ISSN 0735-0198.
- ^ Yan, Haiping (2006-11-22). Chinese Women Writers and the Feminist Imagination, 1905-1948. Routledge. ISBN 978-1-134-57089-8.
- ^ "Shi Pingmei". shanxi.chinadaily.com.cn. Retrieved 2020-12-03.
- ^ Alber, Charles J (2002). Enduring the Revolution : Ding Ling and the Politics of Literature in Guomindang China. Greenwood Publishing Group.
- ^ a b c "Jumping through hoops: autobiographical stories by modern Chinese women writers". Choice Reviews Online. 41 (08): 41–4486-41-4486. 2004-04-01. doi:10.5860/choice.41-4486. ISSN 0009-4978.
- ^ Yang, Haihong (2016-02-20). "The Female Recluse: The Trope of Withdrawal and Self-representation in Poems by Two Late Ming/Early Qing Women Writers". Nan Nü. 18 (2): 257–290. doi:10.1163/15685268-00182p03. ISSN 1387-6805.
- ^ "Jumping through hoops: autobiographical stories by modern Chinese women writers". Choice Reviews Online. 41 (8): 41–4486-41-4486. 2004-04-01. doi:10.5860/choice.41-4486. ISSN 0009-4978.