Peng Xiaolian is a rare and prolific Chinese author who writes both fiction and non-fiction works and directs both dramatic and documentary films. Peng has not only written, cowritten, or rewritten all the screenplays...Peng Xiaolian is a rare and prolific Chinese author who writes both fiction and non-fiction works and directs both dramatic and documentary films. Peng has not only written, cowritten, or rewritten all the screenplays of her eight dramatic features and two documentaries but is also the author of one novel, twelve novellas, over a dozen short stories, four book-length memoirs, three collections of film reviews, and numerous essays. The existing scholarly studies, however, nearly all focus on Peng＇s dramatic films, with much less, if any, attention directed at her writing and documentaries. To really understand Peng as a film auteur, however, it is necessary to look at her films and writings together. Given the quantity and complexity of her works and the space limitations of this article, I examine Peng＇s subversion of the conventional treatment of character, location, and time in three thematic sections reflecting the key narrative motifs in her work. I first summarize existing studies of Peng＇s films, highlighting the rarely examined interaction between visuality and spatiality in her films. Then, after defining her sense of time in narrative, I demonstrate how family history and self-reflexivity are the major difference between her films and her nonfiction works. Last but not least, I discuss how, through her use of multilayered narratives constructed by the female voice and subjectivity, her complete repertoire constitutes a unique history of modern Chinese women. This article aims to demonstrate how, through her use of multilayered narratives constructed by the female voice and subjectivity, her complete repertoire constitutes a unique history of modern Chinese women.展开更多
In the English Restoration, the female body was a sexual object for male consumption. As De Lauretis （1987, p. 5） argued, the construction of gender is the product of its representation so that the construction of w...In the English Restoration, the female body was a sexual object for male consumption. As De Lauretis （1987, p. 5） argued, the construction of gender is the product of its representation so that the construction of woman＇s body followed those canons which encouraged patriarchal binary thought, where the feminine pole has always been regarded as the negative one. In The Rover Part I （1677） and II （1681）, Aphra Behn stressed the ideological construction of＂docile bodies＂ （Foucault, 1979, p. 137）, forcing man to recognize the lady cavalier as a thinking agent. In these plays, woman rejects male＇s stereotypes, turning over the man＇s discursive constructions. The author＇s analysis has not the pretension to solve the many contradictions of a contradictory era but it will inspect female figures in The Rover Part I （1677） and II （168 l）, in which emerges a ~＇woman irreducible to the masculine subject＂ （Irigaray, 2000, p. 125）展开更多
Contextualized in the collective history of Chinese immigration to the British West Indies,Guyanese Chinese writer Jan Shinebourne represents the creolized Chinese culture and experiences in Guiana.Her Timepiece(1986)...Contextualized in the collective history of Chinese immigration to the British West Indies,Guyanese Chinese writer Jan Shinebourne represents the creolized Chinese culture and experiences in Guiana.Her Timepiece(1986)and The Last English Plantation(1988)situate interethnic relationships at their center and gives literary testimonies to the race riots between IndoGuyanese and Afro-Guyanese in the 1950 s and 1960 s.Her literary documentation of Guyanese history repudiates historical pessimism and Eurocentric historical viewpoint,and thus conveys a political immediacy and urgency which resists British colonialism that engenders the racial and social divisions in Guiana and enables the deterritorialization of Chinese diasporic discourse and other minority discourses.展开更多
文摘Peng Xiaolian is a rare and prolific Chinese author who writes both fiction and non-fiction works and directs both dramatic and documentary films. Peng has not only written, cowritten, or rewritten all the screenplays of her eight dramatic features and two documentaries but is also the author of one novel, twelve novellas, over a dozen short stories, four book-length memoirs, three collections of film reviews, and numerous essays. The existing scholarly studies, however, nearly all focus on Peng＇s dramatic films, with much less, if any, attention directed at her writing and documentaries. To really understand Peng as a film auteur, however, it is necessary to look at her films and writings together. Given the quantity and complexity of her works and the space limitations of this article, I examine Peng＇s subversion of the conventional treatment of character, location, and time in three thematic sections reflecting the key narrative motifs in her work. I first summarize existing studies of Peng＇s films, highlighting the rarely examined interaction between visuality and spatiality in her films. Then, after defining her sense of time in narrative, I demonstrate how family history and self-reflexivity are the major difference between her films and her nonfiction works. Last but not least, I discuss how, through her use of multilayered narratives constructed by the female voice and subjectivity, her complete repertoire constitutes a unique history of modern Chinese women. This article aims to demonstrate how, through her use of multilayered narratives constructed by the female voice and subjectivity, her complete repertoire constitutes a unique history of modern Chinese women.
文摘In the English Restoration, the female body was a sexual object for male consumption. As De Lauretis （1987, p. 5） argued, the construction of gender is the product of its representation so that the construction of woman＇s body followed those canons which encouraged patriarchal binary thought, where the feminine pole has always been regarded as the negative one. In The Rover Part I （1677） and II （1681）, Aphra Behn stressed the ideological construction of＂docile bodies＂ （Foucault, 1979, p. 137）, forcing man to recognize the lady cavalier as a thinking agent. In these plays, woman rejects male＇s stereotypes, turning over the man＇s discursive constructions. The author＇s analysis has not the pretension to solve the many contradictions of a contradictory era but it will inspect female figures in The Rover Part I （1677） and II （168 l）, in which emerges a ~＇woman irreducible to the masculine subject＂ （Irigaray, 2000, p. 125）
文摘Contextualized in the collective history of Chinese immigration to the British West Indies,Guyanese Chinese writer Jan Shinebourne represents the creolized Chinese culture and experiences in Guiana.Her Timepiece(1986)and The Last English Plantation(1988)situate interethnic relationships at their center and gives literary testimonies to the race riots between IndoGuyanese and Afro-Guyanese in the 1950 s and 1960 s.Her literary documentation of Guyanese history repudiates historical pessimism and Eurocentric historical viewpoint,and thus conveys a political immediacy and urgency which resists British colonialism that engenders the racial and social divisions in Guiana and enables the deterritorialization of Chinese diasporic discourse and other minority discourses.
