This article studies various means by which female characters determine their own marriages in the tanci 彈詞 , Feng shuang fei 風雙飛, authored by a female writer, Cheng Huiying 程蕙英. It centers on case studies of ...This article studies various means by which female characters determine their own marriages in the tanci 彈詞 , Feng shuang fei 風雙飛, authored by a female writer, Cheng Huiying 程蕙英. It centers on case studies of the concubines in the Guo and Zhang families. Zhen Daya, who marries Guo Lingyun, builds an individual identity as a chaste, talented and determined ＂career woman＂ through her pursuit of a self-determined marriage Zhen Xiaoya, Zhang Yishao＇s concubine, establishes her subjectivity by following the cult of chastity. By creating such a character, the female writer mocks the conventions of scholar-beauty romances and rethinks the contemporary tradition of romance and marriage. The last case is the author＇s strikingly sympathetic treatment of an unchaste girl, Bao Xiang＇er. Although the multiple layers of voices all agree that Xiang＇er is totally inappropriate and immoral according to traditional Confucian values, she, instead of being punished, still ends up being incorporated into Yishao＇s family and is granted a son. These cases allow us to reevaluate Cheng Huiying, a female writer, and her views of women＇s autonomy in determining their own marriages. They anticipate, either through fantasy or some level of reality, the concept of ＂free love＂ （ziyou lian ＇ai） so central to the May Fourth conceptions of modem women.展开更多
In my paper, I show how the metaphysical aspect of the earlier concepts of love faded away through the disappearance of the essential references to God as the one, omniscient, omnipotent and benevolent being of the cr...In my paper, I show how the metaphysical aspect of the earlier concepts of love faded away through the disappearance of the essential references to God as the one, omniscient, omnipotent and benevolent being of the creation of nature, physis. Although in the seventeenth century, the structure of nature was conceived roughly in Epicurean terms, this concept was thought to be in need of a completion through a parallel system of being directed by teleological causality in one way or other. A synthesis of the Epicurean-scientific and the Christian teleological worldview was the main point in the philosophical agenda. The Enlightenment period meant a radical break between this soul-centred view and a new body-centred view most of the important thinkers were persuaded of. I exemplify this radically new look at the human being-in-the-world by presenting some ideas from ~ 50 of Diderot＇s ＂Thoughts on the interpretation of nature＂ （Pensdes sur l＇interprdtation de la nature）. Diderot attributes the faculties of feeling and thinking to all being from the tiniest molecules to the most complex beings, dispensing in this way with the typically seventeenth-century idea of God as the personal warrant of the pos- sibility of cognition. The sentient elements＇ j,~,~ng other corpuscles is no more governed by an omniscient creator but by the dynamism of the process itself. This boundless, creative, dynamic fluidity of being, this newly conceived nature in continual flux seemed to be captured best by such elastic faculties as imagination or sentiment. This is one of the reasons for the overall dominance of these faculties in the French and Scottish versions of the philosophy and theory of art of Enlight- enment. The consequences of all this in domain of the thinking on love will be presented by way of a reflection upon Diderot＇s ideas on the mixing of human andanimal species in the Dream of D＇Alembert and on his ideas on ＂free love＂ in his Supplement to the voyage of Bougainville （1775/1796）.展开更多
Anna Karenina's love is stirring and tragic. Levin's love is seemingly happy but insipid. Love is different when criterions are different. Why Anna' fate is tragic and how to get true love are also analyze...Anna Karenina's love is stirring and tragic. Levin's love is seemingly happy but insipid. Love is different when criterions are different. Why Anna' fate is tragic and how to get true love are also analyzed in this paper. Mutual respect and consideration are the basics of love and never lose ourselves in love.展开更多
文摘This article studies various means by which female characters determine their own marriages in the tanci 彈詞 , Feng shuang fei 風雙飛, authored by a female writer, Cheng Huiying 程蕙英. It centers on case studies of the concubines in the Guo and Zhang families. Zhen Daya, who marries Guo Lingyun, builds an individual identity as a chaste, talented and determined ＂career woman＂ through her pursuit of a self-determined marriage Zhen Xiaoya, Zhang Yishao＇s concubine, establishes her subjectivity by following the cult of chastity. By creating such a character, the female writer mocks the conventions of scholar-beauty romances and rethinks the contemporary tradition of romance and marriage. The last case is the author＇s strikingly sympathetic treatment of an unchaste girl, Bao Xiang＇er. Although the multiple layers of voices all agree that Xiang＇er is totally inappropriate and immoral according to traditional Confucian values, she, instead of being punished, still ends up being incorporated into Yishao＇s family and is granted a son. These cases allow us to reevaluate Cheng Huiying, a female writer, and her views of women＇s autonomy in determining their own marriages. They anticipate, either through fantasy or some level of reality, the concept of ＂free love＂ （ziyou lian ＇ai） so central to the May Fourth conceptions of modem women.
文摘In my paper, I show how the metaphysical aspect of the earlier concepts of love faded away through the disappearance of the essential references to God as the one, omniscient, omnipotent and benevolent being of the creation of nature, physis. Although in the seventeenth century, the structure of nature was conceived roughly in Epicurean terms, this concept was thought to be in need of a completion through a parallel system of being directed by teleological causality in one way or other. A synthesis of the Epicurean-scientific and the Christian teleological worldview was the main point in the philosophical agenda. The Enlightenment period meant a radical break between this soul-centred view and a new body-centred view most of the important thinkers were persuaded of. I exemplify this radically new look at the human being-in-the-world by presenting some ideas from ~ 50 of Diderot＇s ＂Thoughts on the interpretation of nature＂ （Pensdes sur l＇interprdtation de la nature）. Diderot attributes the faculties of feeling and thinking to all being from the tiniest molecules to the most complex beings, dispensing in this way with the typically seventeenth-century idea of God as the personal warrant of the pos- sibility of cognition. The sentient elements＇ j,~,~ng other corpuscles is no more governed by an omniscient creator but by the dynamism of the process itself. This boundless, creative, dynamic fluidity of being, this newly conceived nature in continual flux seemed to be captured best by such elastic faculties as imagination or sentiment. This is one of the reasons for the overall dominance of these faculties in the French and Scottish versions of the philosophy and theory of art of Enlight- enment. The consequences of all this in domain of the thinking on love will be presented by way of a reflection upon Diderot＇s ideas on the mixing of human andanimal species in the Dream of D＇Alembert and on his ideas on ＂free love＂ in his Supplement to the voyage of Bougainville （1775/1796）.
文摘Anna Karenina's love is stirring and tragic. Levin's love is seemingly happy but insipid. Love is different when criterions are different. Why Anna' fate is tragic and how to get true love are also analyzed in this paper. Mutual respect and consideration are the basics of love and never lose ourselves in love.
