Domestic Individualism: Imagining Self in Nineteenth-Century America. Gillian BrownOther Women: The Writing of Class, Race, and Gender, 1832-1898. Anita LevyThe Modernist Madonna: Semiotics of the Maternal Metaphor. Jane Silverman VanBurenGetting an Heir: Adoption and the Construction of Kinship in Late Imperial China. Ann Waltner

Signs ◽  
1993 ◽  
Vol 18 (2) ◽  
pp. 433-438
Author(s):  
Nancy Armstrong
Keyword(s):  
Nineteenth Century ◽  
Late Imperial China ◽  
Race And Gender ◽  
Nineteenth Century America ◽  
Late Imperial ◽  
Imperial China ◽  
And Gender

Technology and Gender Fabrics of Power in Late Imperial China

1999 ◽  
Vol 44 ◽  
pp. 299
Author(s):  
Thomas L. Kennedy ◽  
Francesca Bray
Keyword(s):  
Late Imperial China ◽  
Late Imperial ◽  
Imperial China ◽  
And Gender

The Gender of Knowledge in Forensic Drama of Late Imperial China

NAN Nü ◽  
2021 ◽  
Vol 23 (2) ◽  
pp. 237-271
Author(s):  
Guojun Wang
Keyword(s):  
Court Case ◽  
Forensic Investigation ◽  
Women And Gender ◽  
Late Imperial China ◽  
Legal Cases ◽  
Literary Traditions ◽  
Late Imperial ◽  
History Of ◽  
Imperial China ◽  
And Gender

Abstract In late imperial China practitioners of forensic investigation in legal cases were predominantly male. While crime literature frequently features female characters, the question of how this literature represents the gender dimension of forensic knowledge remains unanswered. This paper aims to answer this question with an examination of a number of late imperial era theatrical works that depict how forensic knowledge differed across the male and female divide. It argues court-case literature increasingly valorized male forensic knowledge and its relevance to the state legal system. At the same time, these theatrical pieces signify female forensic knowledge following two literary traditions, namely, the commendation of exemplary women and the condemnation of “wanton women.” Investigating these theatrical works at the interstices between court-case literature, women’s history, and forensic history, this paper suggests that the representations of forensic knowledge in Chinese drama accord with major developments in the history of women and gender in premodern China.

Sending Flowers into the Mirror: Jinghua yuan as Metafiction

2019 ◽  
Vol 6 (2) ◽  
pp. 412-431
Author(s):  
Liangyan Ge
Keyword(s):  
Nineteenth Century ◽  
The Novel ◽  
Cultural Institutions ◽  
Examination System ◽  
Early Nineteenth Century ◽  
Fiction Writing ◽  
Late Imperial China ◽  
Late Imperial ◽  
Imperial China ◽  
Civil Service Examinations

Abstract This study offers a reading of the early nineteenth-century Chinese novel Jinghua yuan 鏡花緣 (Flowers in the Mirror) by Li Ruzhen 李汝珍 (1763–1830?) as a fiction about fiction making. Contextualizing the novel in a society where the civil service examinations are among the most important cultural institutions, this article considers the protagonist Tang Ao's 唐敖 voyage to bizarre, fantastical islands, narrated in the early chapters of the novel, as an account of his conversion from examination scholarship to fiction creation. From these islands, his symbolic realm of fictionality, he sends flower spirits-turned-girls to China for the female examinations, here interpreted as an enterprise to fictionalize the examination system. Thus the narrative of the girls' participation in the exams and ensuing celebrations in later chapters becomes a fiction within the fiction. Discussing the dynamic between the examinations and fiction writing elevated in the metafictional structure of the novel, this study considers Tang Ao a fictional representative of many scholars in late imperial China, whose experience with the examinations was not merely a cause of intense frustration but also an inexhaustible source of literary inspiration.

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