Femininity in Flux: Gendered Virtue and Social Conflict in the Mid–Qing Courtroom

Theiss, Janet

doi:10.1525/california/9780520211032.003.0002

Cited by 3 publications

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“…As can be seen from Example (2), apart from orthodox Confucian norms prescribing widow chastity (Mann 2002, Theiss 2002, the anecdote depicts Buddhist practices including vegetarianism and propitiation; moreover, in the rest of the narrative, Buddhist elements such as sexual abstinence and lotus are also expounded. More significantly, the portrayal of cutting off one's flesh in ( 2) is aberrant from the Confucian tenet of filial piety but accords with Buddhist philosophy.…”

Section: Resultsmentioning

confidence: 99%

Syncretism of Confucianism, Buddhism and Daoism in Liaozhai Zhiyi in Terms of Filial Piety

Wang

2021

Heritage of nusant. : International j. of Religious Literature

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Liáozhāi Zhìyì is one of the representative compilations in the genre of zhìguài ‘strange writing’ during the Qing (1644-1912) era, and it conveys filial piety through narration and authorial commentary. This research scrutinizes narratives regarding the preponderant construal of filial piety, so as to explore the harmonious contemporaneous of religious thinking and behavior in Qing China. This research conducts interpretative and hermeneutic research on four narratives in Liáozhāi Zhìyì, namely, Xí Fāngpíng, Lè Zhòng, Sìshí Qiān, and Qiánbǔ Wū, and also refers to classic treatises regarding filial piety. Given the fact that narratives in Liáozhāi Zhìyì themed by or appertaining to filial piety entail elements of three religions simultaneously. This study propounds that it illuminates amalgamation of Confucianism, Buddhism and Daoism, i.e. sānjiàohéyī, in seventeenth-century China.

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Section: Resultsmentioning

confidence: 99%

Syncretism of Confucianism, Buddhism and Daoism in Liaozhai Zhiyi in Terms of Filial Piety

Wang

2021

Heritage of nusant. : International j. of Religious Literature

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“…Furthermore, orthodox institutions forbade sexual or even social contact between two genders, and aristocratic women were forced into isolation from public affairs and communication with non-familial males, thereby preventing damage of female chastity (McMahon 1987, Edwards 1990, Theiss 2004. A quintessential embodiment of the patriarchal repression on women was the cult of chastity that had been prevailing since the Yuan dynasty (1279-1368): widows were extolled for committing suicide upon their husbands' decease, and ceremonial arches and shrines were constructed for married and unmarried chastity martyrs who committed suicide to protect their chastity (Waltner 1981, Mann 2002, Theiss 2002, Smith 2008: 358, Fei 2012.…”

Section: Restrictions On Women and Conduct Of Rulersmentioning

confidence: 99%

Mulan Meeting Her Waterloo in Homeland: Analysing the 2020 Film from a Cultural Perspective

Wang

2022

LJLC

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On 4 September 2020, Disney released a remake of its 1998 hit animation, yet the film Mulan fails to replicate its success in the Chinese market this time, as reflected by its box office and online review. It is unexpected for Mulan to meet her waterloo is her homeland, as the patriotic legend involving cross-dressing has been entrancing and intriguing generations of Chinese people from both ends of the social spectrum via a range of media. Among divergent versions of Mulan narration, the Poem of Mulan composed circa the 5th century is the earliest and most established one, and since it has been in the school textbook for decades, the majority of Chinese people’s construal of Mulan is impinged upon by this work. The film Mulan, however, exhibits disparate core values from the Poem of Mulan: the former features filial piety and loyalty, whereas the latter feminism and being true. Furthermore, the film depicts Mulan as a quasi-witch woman with mighty qi that cannot by wielded by females, discrepant from the poem that is void of supernatural demonstrations and interventions, impinged upon by Confucian agnosticism and atheism. Additionally, the film demonstrates historical and cultural details that appear to be counterfactual to Chinese audiences, which is regarded as ignorance and disrespect of Chinese culture.

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Family and Gender in Famine: Cultural Responses to Disaster in North China, 1876-1879

Edgerton-Tarpley¹

2004

jowh

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Imagery used by male local literati to describe the North China Famine of 1876-1879 demonstrates how Confucian ideals and the Chinese family system in the late imperial era should have shaped the moral dilemmas that famine imposed upon women. Local-level Chinese texts about famine place young wives and daughters in physically, morally, and sexually precarious positions during the disaster, but depict elderly mothers as persons with strong claims to a family's dwindling food supply. Demographic studies of famine and gender and observations made by foreign observers, however, call into question the assumption that Chinese families discriminated against young women when dividing a famished household's food supply. They further suggest that the burgeoning trade in women in some cases enabled young women to survive the disaster more successfully than their male counterparts. This article adds a local-level Chinese perspective to the ongoing dialogue on the "feminization of famine."

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Femininity in Flux: Gendered Virtue and Social Conflict in the Mid–Qing Courtroom

Cited by 3 publications

References 0 publications

Syncretism of Confucianism, Buddhism and Daoism in Liaozhai Zhiyi in Terms of Filial Piety

Syncretism of Confucianism, Buddhism and Daoism in Liaozhai Zhiyi in Terms of Filial Piety

Mulan Meeting Her Waterloo in Homeland: Analysing the 2020 Film from a Cultural Perspective

Family and Gender in Famine: Cultural Responses to Disaster in North China, 1876-1879

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