13 and October 14, 2010, held a conference in Strasbourg on the theme " scriptures that reveal the ladies " in initiated Group of Oriental Studies (GEO) at the University of Strasbourg, the second in a series of five meetings on gender issues. Mary Bizais , Senior Lecturer in the Department of Chinese Studies at the University of Strasbourg, organizer of this event, brought together for the event specialists of several cultural areas around the Mediterranean to the Far East, to present and discuss a selection of texts dedicated to the woman or taking a female voice.
The purpose of this note is to summarize succinctly, the themes developed by the various speakers whose presentations were related to Chinese culture. For a report containing all the papers, you can visit this link .
Nicolas Zufferey , chose to draw our attention to " women's writing in Chinese poetry of the Han Dynasty (206 BC. J.-C? - 220 AD. JC) " and more particularly on the question of attribution of poems borrowed a female voice to women writers, recalling that women's writing at this time is more the result of male poets (poems of impersonation ) than women, which had little access to education and were not part of Music Office ( yuèfǔ ), the academy's official Han dynasty. With three poems depicting the theme of women exiled in the "barbarians" and nostalgia for his homeland, or that of the gynoecium lament, singing such jealousy of the deserted wife, or woman who longs for her husband went away, Nicolas Zufferey has shown how the interpretation of these texts is difficult, since the meaning of some passages is sometimes less important than their musicality that few markers of gender are used, that contrary to the moral feelings are not gendered in Chinese culture, tears or courage do not belong to more women than men, and finally, because the subject of distance may as well mention the separation of two friends, the distance between a prince and a minister or between a husband and wife, the distance between spouses may furthermore serve as metaphor for the alienation of the prince against a minister, as noted elsewhere by Mary Bizais . It was also recalled that the allocation of ancient texts to a single author was still very uncertain, since they were generally composed by strata, by authors who succeeded in time.
The purpose of this note is to summarize succinctly, the themes developed by the various speakers whose presentations were related to Chinese culture. For a report containing all the papers, you can visit this link .
Nicolas Zufferey , chose to draw our attention to " women's writing in Chinese poetry of the Han Dynasty (206 BC. J.-C? - 220 AD. JC) " and more particularly on the question of attribution of poems borrowed a female voice to women writers, recalling that women's writing at this time is more the result of male poets (poems of impersonation ) than women, which had little access to education and were not part of Music Office ( yuèfǔ ), the academy's official Han dynasty. With three poems depicting the theme of women exiled in the "barbarians" and nostalgia for his homeland, or that of the gynoecium lament, singing such jealousy of the deserted wife, or woman who longs for her husband went away, Nicolas Zufferey has shown how the interpretation of these texts is difficult, since the meaning of some passages is sometimes less important than their musicality that few markers of gender are used, that contrary to the moral feelings are not gendered in Chinese culture, tears or courage do not belong to more women than men, and finally, because the subject of distance may as well mention the separation of two friends, the distance between a prince and a minister or between a husband and wife, the distance between spouses may furthermore serve as metaphor for the alienation of the prince against a minister, as noted elsewhere by Mary Bizais . It was also recalled that the allocation of ancient texts to a single author was still very uncertain, since they were generally composed by strata, by authors who succeeded in time.
Bizais Mary gave us another example of poetic writing, dating from the Jin Dynasty Western (265-316), in which men borrowed a female voice in the form of correspondence passed between the fictional brothers Lu Ji (261-303) and Lu Yun (262-303) with their respective wives, stayed in Songjiang while they were parties live in the capital, Luoyang. The form of poems and the great distance that separated spouses are in favor of the hypothesis that the responses wives were actually written by Lu brothers themselves. It is indeed likely to play based on a literary work of verse, recalling the correspondence that passed between Qin Jia and his wife Xu Shu , Dynasty Eastern Han (25-220). In one of the poems attributed to the wife of Lu Yun , it reacts to praise her husband as if she did not deserve such an outpouring of love and expresses her jealousy of the attractions of the dancers of the Court, which are certainly much more attractive it!
Francis Martin invited us to join him in his hand a little later, under the Liang dynasty (502-557) by focusing on "the preface of the New chants from the terraces and Jade his (?) recipient. The anthology Yutai xinyong , compiled in 534 by order of Prince Xiao Gang , this originality not to seek a noble literature, proposing instead a model of light verse, devoted exclusively to love real plea for a literature of approval for fun and art to art, design new literary theory in China, which opposed the father of Xiao Gang , Emperor Wudi . Xu Ling emphasizes in his preface the beauty of women of the harem, but also their idleness, and the fact that, once pregnant, they fell into disgrace and was replaced by a new favorite. He presented his compilation of poems as works whose gallant women can learn to compose, and pleasantly cheating boredom. It was thought that the empress Xu , (which we drank and said she was jealous to the point it would have poisoned a concubine of the emperor, who condemned her to commit suicide, in contrast with the sordid reality gynoecium beauty portrayed in the preface), was perhaps the recipient of this collection, however it is quite possible that it just does not sing a woman, but "the" woman. The Empress Xiao , wife of Emperor Yang of Sui , composed in turn fu in which she expressed her displeasure of being neglected by her husband, using the same tonal counterpoint than that of the preface, which attests to his knowledge of the text which it rejects, not style, but the image submitted that gives women and their confinement in rooms gilded him that inspire contempt. This is the only evidence of receipt of the work by a woman that we are aware.
Vincent Durand-Dastès chose to evoke texts addressed to women followers of Taoism, which not only beauty but also the physiology (the flow of menses, child, etc..) Is a obstacle in the way of Tao. Here we find the impurity of women own Buddhism, Chinese religion that has integrated impurity which condemns it to being unable to achieve immortality, unless donations to temples to him to receive religious intercessors. Taoism offers fortunately a technique called "the red dragon decapitate "To control runoff female, while this control is exercised in humans vis-à-vis his seminal essence. The woman is accused of diverting men to control their desires, should avoid frequenting places with dangerous levels of overcrowding and ensure that it does not expose her body. Vincent Durand-Dastès regaling us with tasty excerpts, including the startling story of bu'er Sun, "Sun the nondual ," a Taoist disciple who lived in the twelfth century: unwilling embrace the path of the lower vehicles, She showed a copy of renunciation - which these lines betray nothing - which allowed him greater access to the vehicle.
Back in the contemporary era, Muriel Finetin has in turn presented the měinǚ zuòjiā , these "beautiful writers " Chinese who have come under fire from critics and censorship after have invaded the entire public sphere, by posting their stories on their blogs or female characters who are exposed to the boundary of flaying in making shattering the traditional concept of femininity , characterized by silence, modesty and submission. Using the raw images and language, these writers and bloggers have used a writing body is that of privacy and female desire, the immediacy and personal freedom, writing that, beyond appearance of a narcissistic, superficial and decadent, is inherently a quest for identity and a deep questioning on the status of Chinese women. In their works, " beautiful writers " reject culture phallocratic and denouncing the subjugation of women to male desire, in tempting, sexual transgression, to subvert the self-consciousness imposed by the established social order in a market economy sexist.
Laureillard-Marie Wendland , unable to speak at this conference, told Marie Bizais care to read the audience a summary of its Communication, entitled "A feminine writing, feminist or for women? Hsia Yu Ling Yu and Taiwanese contemporary poetry . In distinguishing itself from an image of femininity associated the prettiness and adopting a particular style, Ling Yu denounces in his poems the absurdity of the modern world while rejecting the status of feminist. Xia Yu , meanwhile, wrote protest poems using female sexuality as a means of subversion. The writing of the two poets Taiwan is a mediator before any of their feminine identity .
Francis Martin invited us to join him in his hand a little later, under the Liang dynasty (502-557) by focusing on "the preface of the New chants from the terraces and Jade his (?) recipient. The anthology Yutai xinyong , compiled in 534 by order of Prince Xiao Gang , this originality not to seek a noble literature, proposing instead a model of light verse, devoted exclusively to love real plea for a literature of approval for fun and art to art, design new literary theory in China, which opposed the father of Xiao Gang , Emperor Wudi . Xu Ling emphasizes in his preface the beauty of women of the harem, but also their idleness, and the fact that, once pregnant, they fell into disgrace and was replaced by a new favorite. He presented his compilation of poems as works whose gallant women can learn to compose, and pleasantly cheating boredom. It was thought that the empress Xu , (which we drank and said she was jealous to the point it would have poisoned a concubine of the emperor, who condemned her to commit suicide, in contrast with the sordid reality gynoecium beauty portrayed in the preface), was perhaps the recipient of this collection, however it is quite possible that it just does not sing a woman, but "the" woman. The Empress Xiao , wife of Emperor Yang of Sui , composed in turn fu in which she expressed her displeasure of being neglected by her husband, using the same tonal counterpoint than that of the preface, which attests to his knowledge of the text which it rejects, not style, but the image submitted that gives women and their confinement in rooms gilded him that inspire contempt. This is the only evidence of receipt of the work by a woman that we are aware.
Vincent Durand-Dastès chose to evoke texts addressed to women followers of Taoism, which not only beauty but also the physiology (the flow of menses, child, etc..) Is a obstacle in the way of Tao. Here we find the impurity of women own Buddhism, Chinese religion that has integrated impurity which condemns it to being unable to achieve immortality, unless donations to temples to him to receive religious intercessors. Taoism offers fortunately a technique called "the red dragon decapitate "To control runoff female, while this control is exercised in humans vis-à-vis his seminal essence. The woman is accused of diverting men to control their desires, should avoid frequenting places with dangerous levels of overcrowding and ensure that it does not expose her body. Vincent Durand-Dastès regaling us with tasty excerpts, including the startling story of bu'er Sun, "Sun the nondual ," a Taoist disciple who lived in the twelfth century: unwilling embrace the path of the lower vehicles, She showed a copy of renunciation - which these lines betray nothing - which allowed him greater access to the vehicle.
Back in the contemporary era, Muriel Finetin has in turn presented the měinǚ zuòjiā , these "beautiful writers " Chinese who have come under fire from critics and censorship after have invaded the entire public sphere, by posting their stories on their blogs or female characters who are exposed to the boundary of flaying in making shattering the traditional concept of femininity , characterized by silence, modesty and submission. Using the raw images and language, these writers and bloggers have used a writing body is that of privacy and female desire, the immediacy and personal freedom, writing that, beyond appearance of a narcissistic, superficial and decadent, is inherently a quest for identity and a deep questioning on the status of Chinese women. In their works, " beautiful writers " reject culture phallocratic and denouncing the subjugation of women to male desire, in tempting, sexual transgression, to subvert the self-consciousness imposed by the established social order in a market economy sexist.
Laureillard-Marie Wendland , unable to speak at this conference, told Marie Bizais care to read the audience a summary of its Communication, entitled "A feminine writing, feminist or for women? Hsia Yu Ling Yu and Taiwanese contemporary poetry . In distinguishing itself from an image of femininity associated the prettiness and adopting a particular style, Ling Yu denounces in his poems the absurdity of the modern world while rejecting the status of feminist. Xia Yu , meanwhile, wrote protest poems using female sexuality as a means of subversion. The writing of the two poets Taiwan is a mediator before any of their feminine identity .
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This brief presentation of the topics discussed at this conference clearly can not account for the eloquence of the speakers, the extent of knowledge they have raised, or even the scope of their reflections, which are the irreducible richness of their presentations. Therefore, pending the forthcoming publication of their papers, this article has no other ambition than to keep a memory necessarily partial and imperfect terribly despite the enthusiasm and sincere all the good will of its author .
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