scholarly journals La vertu de fangsheng défendue par Feng Menglong dans son texte Vengeance de renards

2019 ◽  
Author(s):  
Solange Cruveillé
Keyword(s):  
Feng Menglong

EMOTION AND THE LANGUAGE OF INTIMACY IN MING CHINA: THE SHAN'GE OF FENG MENGLONG

2012 ◽  
Vol 9 (2) ◽  
pp. 231-239
Author(s):  
Anne E. McLaren
Keyword(s):  
Cultural History ◽  
Point Of View ◽  
Modern China ◽  
History Of Emotions ◽  
Social Trends ◽  
Feng Menglong ◽  
History Of Emotion ◽  
History Of ◽  
New Perspective ◽  
Human Emotionality

In recent decades, historians of European history have produced many studies on the history of emotions. Based on the hypothesis that emotions are neither a biological essence nor a universal fixed attribute, they have sought to trace constructions of human emotionality as reflected in literary and other works in a particular society over time. This new sub-discipline, the study of what is often termed “sentimental culture”, has illuminated the interaction between the articulation of an emotional sensibility and significant social trends of the age, including the rise of humanitarian discourse, radical Protestantism, and a destabilizing of sexual norms. From the new perspective of the cultural history of emotion, the modern idea that emotions express individual inwardness and autonomy now appears to be contingent and culture bound. In the case of China, while there has been an abundance of studies of the cult of qing 情 (‘passion, desire’) in the late Ming, there are few works dealing specifically with the historical construction of emotion in pre-modern China, particularly from a linguistic point of view.

scholarly journals Rediscovery of Emotion Coaching

2018 ◽  
Vol 23 (1) ◽  
pp. 56-62
Author(s):  
Zhao Bo
Keyword(s):  
Human Nature ◽  
Ming Dynasty ◽  
The Political ◽  
Emotion Coaching ◽  
The Novel ◽  
Feng Menglong ◽  
Late Ming ◽  
History Of ◽  
Moral Behaviour ◽  
The Mind

The theory of Emotion Coaching was put forward by Feng Menglong in Late-Ming Dynasty. Since Mid-Ming, the cognition of Ch’ing (emotion) has gone through three phases: rediscovery, development, and explanation on the level of the mind. Deeply influenced by Yangming, the theory of Emotion Coaching focuses neither on Ch’ing (emotion) nor on Li (justice) but the balance of the two. That “Ch’ing (emotion) is the basis of Li (justice) and Li (justice) is the criterion of Ch’ing (emotion)” is taken as the tenet of the theory, which means that Ch’ing (emotion) gives rise to moral behaviour and Li (justice) is the standard. The book The History of Ch’ing (《情史》) fully reflects the theory. Separating emotion and desire, Li (justice) is different from Li (rite). The former is based on human nature. Justice and destiny are the two important principles, rather than the political purposes which infuse the latter. The theory of Emotion Coaching is also reflected in the collection of short novels San Yen (“三言”). In the novel, the details of emotion are fantastic, trying to make sense of emotional varieties. Affective and wanton behaviour are shown differently in order to illustrate the discrepancy between emotion and desire. Justice and destiny are also emphasized. Chiang Hsingge Regained His Pearl Shirt (《蒋兴 哥重会珍珠衫) serves as an example here.

Feng Menglong and the Late-Ming Articulation of Sentiment

CHINOPERL ◽  
1997 ◽  
Vol 20 (1) ◽  
pp. 71-84
Author(s):  
Victoria B. Cass
Keyword(s):  
Feng Menglong ◽  
Late Ming

'It Was I Who Lured the Boy': Commoner Women, Intimacy and the Sensual Body in the Song Collections of Feng Menglong (1574-1646)

NAN Nü ◽  
2010 ◽  
Vol 12 (2) ◽  
pp. 311-343
Author(s):  
Wu Cuncun
Keyword(s):  
Feng Menglong ◽  
Late Ming ◽  
Female Embodiment ◽  
Natural Expression

AbstractThis paper surveys bodily imagery and eroticism in Feng Menglong's Shan'ge (Mountain songs) and Guazhi'er (Hanging branch) collections. The direct simplicity and natural expression of desire in folksongs originating among commoners and courtesans caught the imagination of Feng Menglong and other members of the late Ming literati seeking to challenge orthodox strictures on life and imagination. This study argues that the contrasts between the contents of the songs and the signature of women in official forms of discourse cannot be dismissed as a simple reflection of differing rank or status but should persuade us to acknowledge an awareness of a doubled experience of female embodiment that separated marriage and passion.

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