雅里“啪嗒学”：悖论与现代性冲突 蒋秀云

Transtext(e)s Transcultures 跨文本跨文化, 2007

Chinese women have been continuous hits in mass media throughout the past decade. While names such as Mian Mian and Wei Hui have caught the attention of readers with their fin de siècle decadent writings, or, "genital writings" as labeled by some critics, Mu Zimei, Zhuying Qingtong and Sister Lotus have excited netizens with their online sex diaries, hawking details of one-night stands, nude self-portraits, and pictures of flirtatious gestures respectively, which have caused far greater disturbances in China. On top of investigating whether these writers have bravely subverted the sexual hierarchy and avenged traditionally oppressed Chinese women or if they have willingly commercialized and objectified the female body, this article pays special attention to the notion of privacy and its relationship to the rise of the modern city and examines the complexity of privacy and publicity intruding upon one another in literary space. It proposes that contemporary Chinese literature has experienced a metamorphosis from an invasion of the private space by public space, specifically Maoist discourse, during the revolutionary periods to an intrusion of the public space by private space with the help of the Internet in capitalistic-communist China. This article also suggests that what the bad girl writers and bloggers have done would have been a revolution to celebrate the renaissance of the hidden and suppressed body in the traditionally male-orientated Chinese culture and a new representation of feminine consciousness of Chinese women. However, the body, intentionally used as the selling point of the works, has been objectified, marketized, and thus turned into a production of capitalist consumerism. As a result, instead of discovering the feminine consciousness, the female body serves to signify a re-entrapment of femininity by male chauvinism.

2015

Depuis 1979, les critiques d'art en Chine ont accompagné le développement de l’art contemporain, participant à la renaissance de la vie intellectuelle durement éprouvée sous le règne de Mao. Les revues d'art reflètent l’évolution de leur réflexion. Dans ma thèse je présente d’une part ce paysage intellectuel dans lequel s’est construite la critique d’art chinoise, et d’autre part, après avoir analysé comment certains concepts passent d’une langue à l’autre, j’aborde les textes théoriques et leur réception dans le milieu académique. Attirés au départ par la pensée occidentale, un champ référentiel qui s’étend de Platon à Danto, les critiques chinois se sont tournés ensuite vers le corpus classique, voire le Livre des mutations, pour forger des outils “propres à la Chine” afin de ré-écrire une histoire de l’art contemporain chinois délivrée du carcan post-colonial, mais au risque de se prendre au piège d’un nationalisme insidieux encouragé par le Parti. Les larges extraits que...

Journal of Language, Literature, and Teaching

The title of this research is the“shèng nǚ” label solution to female main character in the 《剩者为王》movie’s: feminism analysis. In this study the background of the rise of female phenomena aged over 27 years but still does not have the desire to get married so that researchers adjust the formulation of the problem how women look for ways to be free from the shackles of which are labeled shèng nǚ to them, especially in the film “shèng zhě wéi wáng”. The purpose of this research is carried out to describe the way the shèng nǚ women are in order to be in accordance with the norms of the community in their own country. In this assessment, researchers use qualitative descriptive methods and data validity through triangulation by using the film "Shèng Zhě Wéi Wáng" as a source of data .Researchers used the theory of existential feminism from Beauvoir (1956) as a supporter of this research. Lastly, Researchers found out that there are many ways that shèng nǚ can do in order to be in...

2009

Advances in Social Sciences, 2019

Cai E led the national protection movement, broke the dream of Yuan Shikai's emperor, and was hailed as "the first person to recreate the Republic of China". However, his attitude toward Yuan Shikai experienced the rejection, acceptance, support and gradual change with the change of Yuan Shikai's political inclination, disappointed to the process of opposition. This process reflects the commonality between those, and there are many differences in the way of doing things, political concepts and status. These similarities and differences run through those attitudes towards Yuan Shikai's attitude, reflecting the profound impact of the collision of traditional culture and western culture on the personal and national destiny of the early Republic of China.