摘要
This article examines the phenomenon of women writers burning their own manuscripts, which took place during the Ming-Qing period. By analyzing women＇s poems and biographies of women, this study explores the reasons and implications behind ＂burning.＂ The self-censorship embodied by ＂burning＂ was geared towards protecting female virtue or enabling women writers to express their intense personal emotions while promoting an ideal public self-image. For example, due to their gender and class-consciousness, upper-class women tended to portray themselves as virtuous ladies, whereas, in contrast, courtesan writers were fascinated with the power of love. However, the act of burning manuscripts could both lead to partial loss of an author＇s works and imbue her writing with the tantalizing aura of an unfulfilled promise, thereby immortalizing the manuscripts that had almost been turned to ashes and publicizing the work of the formerly obscure author. In this sense, the ＂burning＂ is transformed into a literary conceit which promotes women＇s writings instead of destroying them. This article demonstrates the dual functions of manuscript burning by Ming-Qing women： self-censorship and self-promotion.
This article examines the phenomenon of women writers burning their own manuscripts, which took place during the Ming-Qing period. By analyzing women＇s poems and biographies of women, this study explores the reasons and implications behind ＂burning.＂ The self-censorship embodied by ＂burning＂ was geared towards protecting female virtue or enabling women writers to express their intense personal emotions while promoting an ideal public self-image. For example, due to their gender and class-consciousness, upper-class women tended to portray themselves as virtuous ladies, whereas, in contrast, courtesan writers were fascinated with the power of love. However, the act of burning manuscripts could both lead to partial loss of an author＇s works and imbue her writing with the tantalizing aura of an unfulfilled promise, thereby immortalizing the manuscripts that had almost been turned to ashes and publicizing the work of the formerly obscure author. In this sense, the ＂burning＂ is transformed into a literary conceit which promotes women＇s writings instead of destroying them. This article demonstrates the dual functions of manuscript burning by Ming-Qing women： self-censorship and self-promotion.
