China Studies Wiki - User contributions [en]

User:Liao Wenyao

2024-12-31T06:06:32Z

Liao Wenyao:

My name is Liao Wenyao and I love eating fruits. I used to be a student and I am still a student for now. I major in English interpretation now and the official name for my master degree is Master of Translation and Interpretation. The college that I get enrolled in is Hunan Normal University. I have no pets and am not allergic to anything. I love playing badminton but I haven’t played it for quite a loooooong time. I might have obsessive-compulsive disorder and we all wish we can make great academic achievement and may the world in peace. See it, say it, sorted.

'''''Tips: From November 10th to December 5th, I learned the lyrics of a song by one line per day, and then I asked AI for the grammar, vocabularies, translation and the pronunciation of them.'''''

'''2024.11.10''' I learned with AI for "J'ai touché l'enfance de mes doigts encore feutrés（中文：我用湿漉漉的手指触摸了童年）"

'''2024.11.11''' I learned with AI for "Ressassé cette histoire comme si je l'avais recontrée（中文：重讲这个故事，就好像我又碰到她了一样）"

'''2024.11.12''' I learned with the help of AI for "La vraie belle nouveauté c'est celle qui ne vieillit pas（中文：真正美丽的新奇玩意儿永不过时）"

'''2024.11.13''' I learned with the help of AI for "Celle qui nous garde les ciels pastels l'orage quand il fait froid（中文：当凛冽的暴风雨来临时，让我们保留柔软的天空）"

'''2024.11.14''' I learned with the help of AI for "Je laisse aux autres les demain（中文：把明天留给别人）"

'''2024.11.15''' I learned with the help of AI for "Moi je prends que les maintenant（中文：我只想珍惜当下）"

'''2024.11.16''' I learned with the help of AI for "Si c'est pou penser la fin（中文：若要考虑未来的结局）"

'''2024.11.17''' I learned with the help of AI for "Compte sur mes rêves d'enfant（中文：那就让我仰赖童年的梦想）"

'''2024.11.18''' I learned with the help of AI for "Petite je fuis le tempts déja peur des convenances（中文：小时候，时间给我逃了脱，已然使我害怕礼节）"

'''2024.11.19''' I learned with the help of AI for "Et la vraie étoffe des gens c'est fou tout ce qui'ils pensent（中文：而人们所有的真实，他们想的一切都是疯狂的）"

'''2024.11.20''' I learned through AI for "C'est triste toute cette méfiance faudrait suivre l'aivon en papier（中文：可悲啊，所有这些猜疑，应该跟着纸飞机走）"

'''2024.11.21''' I learned through AI for "Hurler pour s'envoler surtout quand on pense au passé（中文：尖叫着飞翔着，尤其是当你想回到过去时）"

'''2024.11.22''' I learned through AI for "J'regrette mon adolescence（中文：我后悔我的青春期）"

'''2024.11.23''' I learned through AI for "Et pourtant c'est pas fini（中文：但它还没有结束）"

'''2024.11.24''' I learned through AI for "Quand t'es petit y'a la méfiance（中文：当你还小，就会对别人猜猜点点的)"

'''2024.11.25''' I learned through AI for "Puis après vient le mépris（中文：然后又轻蔑）"

'''2024.11.26''' I learned through AI for "Y'a des jours ou ca va mal（中文：有时候事情总不对）"

'''2024.11.27''' I learned through AI for "C'est que t'oublies quand ca va bien（中文：只要你什么时候好就忘了）"

'''2024.11.28''' I learned thorugh AI for "Les adultes ils crient ils ralent（中文：大人们又叫又哭的）”

'''2024.11.29''' I learned through AI for “Disent des choses qui servant à rien （中文：说些没用的话）”

'''2024.11.30''' I learned through Ai for “Tu passe ta vie dans le passé（中文：人的一生都在进行过去时）

'''2024.12.1''' I learned the “Et pourtant c'est pas si beau（中文：但并不总那么美丽）”

'''2024.12.2''' I learned the “Tu te souviens des jours usés ?（中文：你还记得过去的日子吗？）” with AI

'''2024.12.3''' I learned the “Des mois de mai, des batailles d'eau（中文：五月的水战）” with AI

'''2024.12.4''' I learned the “Faut s'y faire t'es juste grand（中文：你得习惯，只不过是个子比别人高了一些而已）”and “Y'en aura pleins tu verras（中文：会有很多你能看到的）” with AI

'''2024.12.5''' I learned the “Des belles choses, des bons moments（中文：美好的事物啊美好的时光）” and “Des belles choses, des bons moments（中文：当一切结束，你又会后悔）” with AI

'''Note: I decide to learn something else~''''I would like to learn a French poem with the magical assistance of A''I(the poem is called Pour Demian)''.''

'''2024.12.6''' I learned the "Vous que le printemps opéra(奇迹春天唾手而成魔术)" with AI;

'''2024.12.7''' I learned the "Miracles ponctuez ma stance(请替我的诗章断句分行)" with AI;

'''2024.12.8''' I learned the "Mon esprit épris du départz(我的迷恋于出走的思想)" with AI;

'''2024.12.9''' I learned the "Dans un rayon soudain se perd(陡然间消失于一线光亮)" with AI;

'''2024.12.10''' I learned the "Perpétué par la cadence(又由光的节奏频频延续)" with AI;

'''2024.12.11''' I learned the "La Seine au soleil d'avril danse(塞纳河荡漾于四月艳阳)" with AI;

'''2024.12.12''' I learned the "Comme Cécile au premier bal(像塞西尔首次翩然领舞)" with AI;

'''2024.12.13''' I learned the "Ou plutôt roule des pépites(又似卷拂起细密的金砾)" with AI;

'''2024.12.14''' I learned the "Vers les ponts de pierre ou les cribles(涌向那道道石桥或筛网)" with AI;

'''2024.12.15''' I learned the "Charme sûr La ville est le val(耐看的幻美城池化溪谷)" with AI;

'''2024.12.16''' With the help of AI, I learned the "Les quais gais comme en carnaval(左右堤岸节日般狂欢)" .

'''2024.12.17''' With the help of AI, I learned the "Vont au devant de la lumière(一起拥戴那光明远去)".

'''2024.12.18''' With the help of AI, I learned the "Elle visite les palais(她驾临的重重宫殿)".

'''2024.12.19''' With the help of AI, I learned the "Et les roses du jour aux vitres(和窗扇掩映的盛开玫瑰)".

'''Female Writers: Zhang Ailing, Chen Ping(Sanmao), Lin Yihan and Li Bihua'''

Written by Liao Wenyao(Rose)

'''1. Introduction'''

Literature is closely related to culture. In the first place, the nature of literary works lies in its capacity to convey the unique essence of certain culture through specific plots. It could also capture the complexities of human experiences shaped by transcendental concepts of time and space in the context of modernity transformation with the usage of language as the vehicle. "Modernity is a culture over time", as the timeline lengthens and the space witnesses continuous dilation from the sheer perspective of physics, an intricate self inherited from the previous existence and spiritual detachment becomes intertwined with the culture as well as history and religious notions that have been portrayed. On the other side of the coin, culture always has a profound impact on the production and development of literary works. The cultural setting would often influence the expansion of the cultural world and the retrospective prospect of individual episodes. From ancient civilizations to modern times, the female literary tradition in China has deep historical roots. Female literature that heralds women's efforts to strive for deserved status notes slow progress and the state of fragility. And female writers, as other male writers, delve into the most speculative and enigmatic appreciation of Chinese culture, unravel evolving understanding of human nature. Therefore, women's engagement in literature production and their own discourse system could reflect female literary criticism culture in different periods. Those endeavors mirrors the impenetrable requirements of women's pursuit of self-discovery and gender equality that has been regarded as the ideological trend culture in the given era. The rumination also served as an integral part of Chinese culture. In the following text, four female writers and the involved cultural components and connotations will be introduced. The discussion of the elements of Chinese culture would be manifested in female literary works. (Wang 2006, 78)

'''2. Four Female Writers and the Involved Chinese Culture'''

The specifics will be given below.

'''2.1 Zhang Ailing(张爱玲)--A Dream of Genius and Legend(''Dream of Genius''(《天才梦》) is also one of her literary work)'''

Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)

As what has been mentioned above, the historical background of the work demonstrates a "grotesque" era in which the endogenous regulatory system that has been existed from the past hundred years engaged deeply with aspects of the social mobility. And the entrenched institutions failed to promptly "give birth to" a modern as well as civilized social system across the board. The traditional "patriarchal clan" concept culture was also articulated In Zhang Ailing's ''Half of Lifelong Romance''. "Patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" are the key words in the work: "Patriarchal chiefs system" indicates that the greatest authority and property would be passed to the first-born son (嫡长子) delivered by the eldest wife or a concubine while following the institution of polygamy in the Chinese imperial system. Under the circumstance, and the rest of the sons(庶子) would be deemed to be less noble than the eldest son. The hereditary king of the Zhou Dynasty was called the Son of Heaven, who was the political master of the world. And the throne and the position of the great lords would only be inherited by the eldest son of the eldest wife once the dominant character passed away. It is notable that the integrity and competence were not taken into account for selecting heads of all levels of power. In Half of Lifelong Romance, Shen Xiaotong(Shen Shijun's father) was of the higest rank of nobility in the Shen clan and his supremacy could be alloted to anyone at his disposal. A wife and a concubine of Shen Xiaotong were respectively described, one of them was lawfully wedded wife and the other one was given the support of concubinage. The male master of the story is the eldest son of lawful spouse, he was attempting to earn a tint of fortune in Shanghai. Therefore, it is described in the plot that when Shen Xiaotong was seriously ill, he urgently summoned Shen Shijun to return home, and because Shijun could be regarded as "嫡长子", he entrusted "reliance" to Shijun, which also highlights the clout of "patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" in Chinese culture. (Zhao 2012, 132)

'''2.2 Chen Ping(Sanmao)--Soul with the Wind'''

Sanmao, also known as Chen Ping, is a trailblazing writer in China. Her lifelong pursuit of freedom is the miracle of a unique life, the mighty rivers and vast landscapes she talked about in the books serve as the console for thousands of readers to escapism. The cultural elements defined by diversified Chinese traditions could also be identified in ''The Rainy Season Will Never Come''(《雨季不再来》), which includes her pure love and sincere attitude towards people. And the concept is in close alignment with the "universal love" of Mohism, which advocates the practice of love without distinctions despite the respective relationship and origins. Equal care for others, the quality of tolerant and inclusive mentality of Sanmao could always be found in her other articles. (Yu 2017, 33)

'''2.3 Lin Yihan--Fang Siqi, Paradise Lost hidden in Each Ripped Square Sheets'''

Lin Yihan, a Chinese female writer, inherits the writing style of Zhang Ailing and employs differentiated methods to render unusual sentiment. The inanimated language use framing individual trama boldly conceals agonizing excruciation, wind and rain leaves no trace but the massive edification. Her work ''Fang Siqi's First Love Paradise''(《房思琪的初恋乐园》) tells the story of a girl named Fang Siqi being seduced for a long time by Li Guohua who was a teacher of a private school. The work makes inquiries for women’s right of speech. It describes the female image fallen in line with the patriarchal culture in Taiwan, pointing out that the patriarchal culture is subtly disciplining women in the name of literature and education by its fabricated moral conventions. For example, the elder sister Yi Wen, though highly educated with enjoyment of intellectual pursuit, found her husband's family which was of the same descent as hers still forced her to bring them a son (in traditional Chinese thinking. Women are still fertility tools and believed to bore “promising” pregnancy with a definite son); The insult that Siqi received turned the traditional concept (even if it was not the victim's fault at all) into a piece of "rotten meat" (the crime of erosion was cleverly attributed to the victim). (Wang 2002, 4)

'''2.4 Li Bihua--Ghost(Unchained Empathy)'''

Li Bihua, a Chinese writer, treats challenging materials with grace and poignancy, luxuriating in her own eccentric wording, twisted plot, evocative emotions. Although the content of her work ''Dumplings''(《饺子》)is quirky and daring with novelettish feelings, it is a distinctive literary "step" to use the food of Hong Kong, Macao and Guangdong as the bait to "trick" the reader to the emotional climax. When the readers understand the truth, they are already trapped in it. Shrimp dumplings, egg tarts, marinated duck, Chinese bird's nest cake, these delicacies with Chinese regional characteristics symbolize not only the basis of the plot but also the carrier of culture. (Jia 2004, 103)

'''3. Summary'''

Despite only one different Chinese character("literature" stands for "文学" and "culture" refers to "文化"), "literature" and "culture" encapsulates the zeitgeist of different eras. Feminist criticism and theoretical discourse enlightenment in the scope of Chinese culture to varying degrees can be gleaned from the four female writers with their particularized narratives introduced in this article, which could facilitate related progress. Besides, we surely could witness the renewed transformation in the connotation of Chinese culture adapting to the ongoing advance of feminist literature. It could also be certified that the interpretation of female writers pursue gender liberation as well as equality and freedom. Winston Churchill once said, "A culture that does not accompany its strength may face cultural extinction." Perhaps culture itself does not have to incorporate into the traditional discourse. However, it could not be built upon the cornerstone of the innocent and blameless lives while there would be someone shouting "the unbearable lightness of being". (Lin 2004, 139)

'''Terms and Expressions:'''

''Dream of Genius'' 《天才梦》

''Half of Lifelong Romance'' 《半生缘》

May Fourth Movement 五四运动

Patriarchal clan system(the feudal clan system) 宗法制

Patriarchal chiefs system 嫡长子继承制

patriarchal culture 父权文化

the Son of Heaven 天子

concubine 妾；姨太太

''The Rainy Season Will Never Come'' 《雨季不再来》

Universal love 兼爱

Mohism 墨家思想

''Fang Siqi's First Love Paradise'' 《房思琪的初恋乐园》

''Dumplings'' (饺子》

Shrimp dumplings 虾饺

egg tarts 蛋挞

marinated duck 卤水鸭

Chinese bird's nest cake 燕窝糕

'''Questions:'''

1. After reading this article, what's your personal view on the development of Chinese culture and women's literature?

2. Do you think Chinese female literature has a positive impact on breaking down the dregs of feudal culture(the negative effect not the positive ones)?

3. What do "patriarchal clan system" and "patriarchal chiefs system" have in common?

4. How would you rate each of the female writers featured in this article?

5. Do you have different thoughts on promoting Chinese culture through literary works? (creative measures are largely welcomes!)

'''Answers:'''

1. They could supplement each other with the parts of significance and they could contribute to the common development of each other.

2. Yes sure it is. As there exists the underlying need for women writers to foster pacesetters in terms of illuminating the harsh reality, we need to know what should be put in place once the obsolete ones face their time.

3. The two concepts share the same matrix of "the eldest male 'brought' by the legally married wife(also the eldest) could be rewarded with dominance.

4. No, I'm afraid I would not rate each of them as I'm not qualified to do that. So sorry.

5. Social platform, media, live-streaming, drama(the collision between the modern times and the past traditions).

'''References:'''

[1] Frevert, Ute. 2016. The History of Emotions [G]∥Lisa F. Barrett et. Al. Handbook of Emotions(4th ed.). New York /London: The Guilford Press, 49-65．

[2] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.

[3] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals [M]. Cambridge: CUP, 1999,

''Note: The references below are of actual Chinese version in the origins(the original Chinese references are given in the last part) and I translated them for your better appreciation. Thank you very much.''

[4] YN Jia. Where the soul drifts towards: a discussion on the fate of women in Li Bihua's novels [J]. ''Contemporary Literature Research,'' 2004, (03): 102-104.

[5] DY Lin. The literary situation of female discourse [J]. ''Southeast Academic,'' 2004,(01):132-140.

[6] YH Lin. Fang Siqi’s first love paradise. [M]. Beijing: Beijing United Publishing Co, Ltd, 2018.

[7] Liu Guangyu, Dong Ling. Evolution of female roles and Chinese women's Liberation: a cultural perspective of modern Chinese feminine literature [J]. ''Journal of Shandong Normal University (Social Science Edition)'', 2000, (02): 10-14.

[8] Sanmao. The rainy season will never come [M]. Beijing: Beijing October Art & Literature Publishing, 2009.

[9] Wang Bingjun, Wang Yan, Wang Min 'an, et al. Space, modernity and cultural memory [J]. ''Foreign Literature,'' 2006, (04): 76-87.

[10] Wang Ning. Cultural identity and Chinese Literary Critical Discourse [J]. ''Gansu Social Sciences,'' 2002, (01): 3-6.

[11] DQ Yu. Another work of Sanmao from the perspective of text narrative [J]. ''Chinese Research,'' 2017, (15): 33-34.

[12] AL Zhang. Half of lifelong romance [M]. Beijing: Beijing October Art & Literature Publishing, 2012.

[13] JY Zhao. The fading rose in the vanity world: the phenomenon of female alienation in the works of Fitzgerald and Zhang Ailing [J]. ''Literary Debate,'' 2012, (08): 131-134.

'''女性作家专题：张爱玲、陈平（三毛）、林奕含及李碧华'''

廖文垚

'''1.引言'''

文学作品与文化有着密不可分的关系，一方面，文学作品的本质在于其或通过特定的情节传递出文化特质，或使用语言符号作为载体呈现出人类在现代性变革中的复杂时空感知，而“现代性是一种关于时间的文化”，伴随着物理层面上时间轴的延长，空间场所的不断扩张，一种继生于存在体验、精神超脱的复杂织体与描述到的文化历史、宗教观念相有关联。另一方面，文化必会影响文学作品的撰写与发展，设置特定的“文化景观”，而影响文化世界的展开以及个人体验形式的回溯展望。以古贯今，中国女性文学历史渊源极深，发展长路漫漫，女性作家跃然而起，与男性作家一样，挥笔毫墨间，钻仰中华文化之渊秘，涣尔书陈底蕴之冰开。女性介入历史性书写，建构自身话语体系，能够体现出不同时期中国女性文学文本批评文化，更有适时女性于挣扎中寻找自我、追求新时代性别平等思潮文化的复杂要求，这也是中国文化的组成部分，而接下来，笔者会介绍四位女性作家以及其中的文化元素和内涵，进而研讨女性文学作品中彰显的中国文化要素。(Wang 2006, 78)

'''2.四位女作家介绍及涉及文化要素'''

具体内容详见下文。

'''2.1 张爱玲——“天才传奇梦”'''

张爱玲是20世纪中国最具影响力的女作家之一。而这一节将首要谈到“文化研究”与“文化身份”，后者依托后殖民理论析述，移用于前者中去（前者是一类理论话语），从文艺美学的层面来看，即为肯定研究主体“存在即合理”以及自身具备的美学价值；从文学研究的外延层面来看，是为语境式研究和文本式研究相结合的。“文化身份”诉诸包含文学和文化研究中的民族本质特征和带有民族印记的文化本质特征。该点在张爱玲的作品《半生缘》中亦有体现：彼时新思潮旧学识交织纷杂，封建意识盘踞不下，而西方思想已然侵染其中。故事的女主人翁——顾曼桢，其“文化身份”具有不确定性以及一定程度上的矛盾性。在思想上，顾曼桢经受“五四时代”精神洗礼，抗拒母亲自以为“义”的婚事（即与豫瑾——她姐姐的未成“初恋”同婚），坚守着“婚恋自由”“婚娶自主”的追求而选择沈世钧，在宗法人伦视角下传统母女关系的多重性表现中，该角色超越传统女儿形象建构；然而在后续的情节发展中，主人公的“文化身份”又显现出“矛盾”底色来，“自由”与“人伦”，是非“鱼与熊掌焉”？女主角毅然踏入与强奸犯的婚姻中，曲折妥协的“自戕”加深了悲惨的论调，“在人伦情感的掩护下,女儿对情感的追求就容易滑入宗法等级下的没有自我的深渊。张爱玲也正是借了这个人物，揭示了即使已有”德先生“”赛先生“旗帜高悬于青天之上，仍裹挟于传统宗法文化洪流中的女性文化发展的矛盾性。(Liu 2000, 12)

正如前文所述，作品的历史背景展现的是一个既无法摆脱虬扎良久的过往固有规制体系，又无法根彻地“胎生”出一套现代文明的社会体制的“光怪陆离”的时代；在张爱玲的《半生缘》这部作品中，传统的“宗法人伦”观念文化得以窥见。“宗法制”，“嫡长子继承制”则是“缘”中的关键词：“嫡长子继承制”是指古代统治者实行一夫多妻制，多妻中有一个正妻，即“嫡”，其子为嫡子；其他妻子为”庶“，其子为庶子。按照周制，最高统治者称为天子，统治天下的土地和臣民，继承王位的，也必须是嫡长子，至于贤良与否，并不作考究。在《半生缘》这部作品中，沈啸桐为权力的下发人，上位者；书中只写了两位地位相当的夫人——正房沈夫人以及“二房”“鼓楼那个”；故事的男主人翁是大房沈夫人的儿子，年纪是在社会上初闯荡着的。如此一来，在文中就有描述，在沈啸桐病重时，急召沈世钧返家，并正因世钧是正房所出——归属于“嫡长子”范畴，便将“倚靠”托给了世钧，这样的情节并也凸显出“嫡长子继承制”在文化中之根基久深来。(Zhao 2012, 132)

'''2.2 陈平（三毛）——“自由的灵魂”'''

三毛，又名陈平，中国著名女作家。她一生追求自由，是独特生命的奇迹；她笔下走过的万水千山，是以给万千读者聊以生命的慰藉。当然，在她的《雨季不再来》一书中，也能察觉到部分中华文化元素的体现，包括其博爱且真挚的思想情感，这与墨家思想中的“兼爱”不谋而合，后者倡导无差别地爱一切人，不分亲疏贵贱，平等地关爱他人（从三毛其他地作品里也能看到三毛宽容、包容地心态是时常存在着的）。(Yu 2017, 33)

'''2.3林奕含——“房思琪，拆开的每一个格子里都是失掉的乐园”'''

林奕含，中国女作家，文风承接“张派”，雕词论调不走寻常路，乖拗的文字外壳下是一层焦冷捻湿的伤痛，风雨虽无飘荡，却也是漫山遍野的今天和琳琅。她的作品《房思琪的初恋乐园》通过讲述少女房思琪被补习班教师李国华长期诱奸一事，叩问情节背后隐藏的话语权问题。小说描写了在台湾社会男权文化治下的女性群像,指出男权文化正以其编造的道德惯例、正以文学和教养的名义潜移默化地规训女性。例如，书中的伊纹姐姐，即使受过了高等教育，寻得的夫家也是一介清流，仍要逼迫着生贵子（中国传统思想，女人仍旧是生育工具，所承诺的只有大着的肚子和必须生下的男胎）；思琪受到的侮辱，给传统观念（即使完全不是受害者的错）下拧成了一坨烂肉（糜烂的罪孽被巧言令色地嫁祸给了受害者）。 (Wang 2002, 4)

'''2.4 李碧华——“人鬼情未了”'''

李碧华，中国作家，笔风辛辣，文力凄艳悲凉，情节诡谲丛生，鬼魅无影。她的作品《饺子》中虽内容诡丽阴冷，情感黏滞，但极有特色地将港澳及广东地区的食物作“诱引”，一步步将读者“骗”到情感高潮处，待醒悟已是浑然困宥于其中矣。虾饺、蛋挞、卤水鸭、燕窝糕，这些具有中国地区特色的美食，既成为了情节的依托，也作为了文化的载体。(Jia 2004, 103)

'''3.结语'''

“文学”与“文化”，虽只有一字之差，但都反映了时代下的精华。文中介绍的四位女作家，虽文风有所不同，但都不同程度地反映了中华文化范围内女性主义批评思潮与理论话语启蒙，而这一进程虽仍在行进之中，但也形成一定态势。当然，我们更能看到在语境变迭发展下，在女性主义文学发展下的中华文化内涵发生了新的变化，也能看到女性文人追求性别解放、争取平等自由的诠释。丘吉尔说过：“不伴随力量的文化，到明天将成为灭绝的文化。”，或许，文化不必在于传统话语之“重”，只是，不能再踩踏在无辜的血肉冤魂之上，高喊“生命不能承受之轻”。(Lin 2004, 139)

'''问答中文原文：'''

1.看完本文后，你对於中国文化及女性文学发展有什么样的看法吗？

2.你是否认为中国女性文学对破除封建文化糟粕具有积极影响？

3.“宗法制”和“嫡长子继承制”是什么意思？

4.给本文中涉及到的女性作家打分的话，你每个会打几分？

5.对于以文学作品宣扬中华文化，你是否有不一样的见解？（可以谈谈具体措施）

1. 他们相互补充，并为彼此的共同发展做出贡献。

2. 当然。由于需要女性作家先行揭示（以文笔）残酷现实，我们必须破旧立新。

3. 这两个概念相同之处就是大房的长子一般能获得统治地位。

4. 不好意思，我觉得我还达不到能给她们打分的水平。

5. 社交平台、媒体、直播、戏剧（现代与过去传统的碰撞）。

'''参考文献：'''

[1]贾颖妮. 魂归何处——论李碧华小说对女性命运的探讨[J]. 当代文坛, 2004, (03): 102-104.

[2]林丹娅.女性话语的文学境遇[J].东南学术,2004,(01):132-140.

[3]林奕含. 房思琪的初恋乐园[M]. 北京: 北京联合出版公司, 2018.

[4]刘光宇,冬玲. 女性角色演变与中国妇女解放——中国现代女性文学的文化透视[J]. 山东师大学报(社会科学版), 2000, (02): 10-14.

[5] 三毛. 雨季不再来[M]. 北京: 北京十月文艺出版社, 2009.

[6] 王炳钧,王炎,汪民安,等. 空间、现代性与文化记忆[J]. 外国文学, 2006, (04): 76-87.

[7] 王宁. 文化身份与中国文学批评话语的建构[J]. 甘肃社会科学, 2002, (01): 3-6.

[8] 喻徳琴. 文本叙事角度下的《梦里花落知多少》[J]. 语文建设, 2017, (15): 33-34.

[9] 张爱玲. 半生缘[M]. 北京: 北京十月文艺出版社, 2012.

[10] 赵劲鹰. 浮华世界凋零的玫瑰——菲茨杰拉德和张爱玲作品中的女性异化现象[J]. 文艺争鸣, 2012, (08): 131-134.

[11] Frevert, Ute. 2016. The History of Emotions [G]∥Lisa F. Barrett et. Al. Handbook of Emotions(4th ed.). New York /London: The Guilford Press, 49-65．

[12] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.

[13] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals [M]. Cambridge: CUP, 1999,

I hereby guarantee that I have not used the help of AI to write my final paper in this course.

User:Liao Wenyao

2024-12-31T06:01:09Z

Liao Wenyao:

My name is Liao Wenyao and I love eating fruits. I used to be a student and I am still a student for now. I major in English interpretation now and the official name for my master degree is Master of Translation and Interpretation. The college that I get enrolled in is Hunan Normal University. I have no pets and am not allergic to anything. I love playing badminton but I haven’t played it for quite a loooooong time. I might have obsessive-compulsive disorder and we all wish we can make great academic achievement and may the world in peace. See it, say it, sorted.

'''''Tips: From November 10th to December 5th, I learned the lyrics of a song by one line per day, and then I asked AI for the grammar, vocabularies, translation and the pronunciation of them.'''''

'''2024.11.10''' I learned with AI for "J'ai touché l'enfance de mes doigts encore feutrés（中文：我用湿漉漉的手指触摸了童年）"

'''2024.11.11''' I learned with AI for "Ressassé cette histoire comme si je l'avais recontrée（中文：重讲这个故事，就好像我又碰到她了一样）"

'''2024.11.12''' I learned with the help of AI for "La vraie belle nouveauté c'est celle qui ne vieillit pas（中文：真正美丽的新奇玩意儿永不过时）"

'''2024.11.13''' I learned with the help of AI for "Celle qui nous garde les ciels pastels l'orage quand il fait froid（中文：当凛冽的暴风雨来临时，让我们保留柔软的天空）"

'''2024.11.14''' I learned with the help of AI for "Je laisse aux autres les demain（中文：把明天留给别人）"

'''2024.11.15''' I learned with the help of AI for "Moi je prends que les maintenant（中文：我只想珍惜当下）"

'''2024.11.16''' I learned with the help of AI for "Si c'est pou penser la fin（中文：若要考虑未来的结局）"

'''2024.11.17''' I learned with the help of AI for "Compte sur mes rêves d'enfant（中文：那就让我仰赖童年的梦想）"

'''2024.11.18''' I learned with the help of AI for "Petite je fuis le tempts déja peur des convenances（中文：小时候，时间给我逃了脱，已然使我害怕礼节）"

'''2024.11.19''' I learned with the help of AI for "Et la vraie étoffe des gens c'est fou tout ce qui'ils pensent（中文：而人们所有的真实，他们想的一切都是疯狂的）"

'''2024.11.20''' I learned through AI for "C'est triste toute cette méfiance faudrait suivre l'aivon en papier（中文：可悲啊，所有这些猜疑，应该跟着纸飞机走）"

'''2024.11.21''' I learned through AI for "Hurler pour s'envoler surtout quand on pense au passé（中文：尖叫着飞翔着，尤其是当你想回到过去时）"

'''2024.11.22''' I learned through AI for "J'regrette mon adolescence（中文：我后悔我的青春期）"

'''2024.11.23''' I learned through AI for "Et pourtant c'est pas fini（中文：但它还没有结束）"

'''2024.11.24''' I learned through AI for "Quand t'es petit y'a la méfiance（中文：当你还小，就会对别人猜猜点点的)"

'''2024.11.25''' I learned through AI for "Puis après vient le mépris（中文：然后又轻蔑）"

'''2024.11.26''' I learned through AI for "Y'a des jours ou ca va mal（中文：有时候事情总不对）"

'''2024.11.27''' I learned through AI for "C'est que t'oublies quand ca va bien（中文：只要你什么时候好就忘了）"

'''2024.11.28''' I learned thorugh AI for "Les adultes ils crient ils ralent（中文：大人们又叫又哭的）”

'''2024.11.29''' I learned through AI for “Disent des choses qui servant à rien （中文：说些没用的话）”

'''2024.11.30''' I learned through Ai for “Tu passe ta vie dans le passé（中文：人的一生都在进行过去时）

'''2024.12.1''' I learned the “Et pourtant c'est pas si beau（中文：但并不总那么美丽）”

'''2024.12.2''' I learned the “Tu te souviens des jours usés ?（中文：你还记得过去的日子吗？）” with AI

'''2024.12.3''' I learned the “Des mois de mai, des batailles d'eau（中文：五月的水战）” with AI

'''2024.12.4''' I learned the “Faut s'y faire t'es juste grand（中文：你得习惯，只不过是个子比别人高了一些而已）”and “Y'en aura pleins tu verras（中文：会有很多你能看到的）” with AI

'''2024.12.5''' I learned the “Des belles choses, des bons moments（中文：美好的事物啊美好的时光）” and “Des belles choses, des bons moments（中文：当一切结束，你又会后悔）” with AI

'''Note: I decide to learn something else~''''I would like to learn a French poem with the magical assistance of A''I(the poem is called Pour Demian)''.''

'''2024.12.6''' I learned the "Vous que le printemps opéra(奇迹春天唾手而成魔术)" with AI;

'''2024.12.7''' I learned the "Miracles ponctuez ma stance(请替我的诗章断句分行)" with AI;

'''2024.12.8''' I learned the "Mon esprit épris du départz(我的迷恋于出走的思想)" with AI;

'''2024.12.9''' I learned the "Dans un rayon soudain se perd(陡然间消失于一线光亮)" with AI;

'''2024.12.10''' I learned the "Perpétué par la cadence(又由光的节奏频频延续)" with AI;

'''2024.12.11''' I learned the "La Seine au soleil d'avril danse(塞纳河荡漾于四月艳阳)" with AI;

'''2024.12.12''' I learned the "Comme Cécile au premier bal(像塞西尔首次翩然领舞)" with AI;

'''2024.12.13''' I learned the "Ou plutôt roule des pépites(又似卷拂起细密的金砾)" with AI;

'''2024.12.14''' I learned the "Vers les ponts de pierre ou les cribles(涌向那道道石桥或筛网)" with AI;

'''2024.12.15''' I learned the "Charme sûr La ville est le val(耐看的幻美城池化溪谷)" with AI;

'''2024.12.16''' With the help of AI, I learned the "Les quais gais comme en carnaval(左右堤岸节日般狂欢)" .

'''2024.12.17''' With the help of AI, I learned the "Vont au devant de la lumière(一起拥戴那光明远去)".

'''2024.12.18''' With the help of AI, I learned the "Elle visite les palais(她驾临的重重宫殿)".

'''2024.12.19''' With the help of AI, I learned the "Et les roses du jour aux vitres(和窗扇掩映的盛开玫瑰)".

'''Female Writers: Zhang Ailing, Chen Ping(Sanmao), Lin Yihan and Li Bihua'''

Written by Liao Wenyao(Rose)

'''1. Introduction'''

Literature is closely related to culture. In the first place, the nature of literary works lies in its capacity to convey the unique essence of certain culture through specific plots. It could also capture the complexities of human experiences shaped by transcendental concepts of time and space in the context of modernity transformation with the usage of language as the vehicle. "Modernity is a culture over time", as the timeline lengthens and the space witnesses continuous dilation from the sheer perspective of physics, an intricate self inherited from the previous existence and spiritual detachment becomes intertwined with the culture as well as history and religious notions that have been portrayed. On the other side of the coin, culture always has a profound impact on the production and development of literary works. The cultural setting would often influence the expansion of the cultural world and the retrospective prospect of individual episodes. From ancient civilizations to modern times, the female literary tradition in China has deep historical roots. Female literature that heralds women's efforts to strive for deserved status notes slow progress and the state of fragility. And female writers, as other male writers, delve into the most speculative and enigmatic appreciation of Chinese culture, unravel evolving understanding of human nature. Therefore, women's engagement in literature production and their own discourse system could reflect female literary criticism culture in different periods. Those endeavors mirrors the impenetrable requirements of women's pursuit of self-discovery and gender equality that has been regarded as the ideological trend culture in the given era. The rumination also served as an integral part of Chinese culture. In the following text, four female writers and the involved cultural components and connotations will be introduced. The discussion of the elements of Chinese culture would be manifested in female literary works. (Wang 2006, 78)

'''2. Four Female Writers and the Involved Chinese Culture'''

The specifics will be given below.

'''2.1 Zhang Ailing(张爱玲)--A Dream of Genius and Legend(''Dream of Genius''(《天才梦》) is also one of her literary work)'''

Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)

[[File:]]

As what has been mentioned above, the historical background of the work demonstrates a "grotesque" era in which the endogenous regulatory system that has been existed from the past hundred years engaged deeply with aspects of the social mobility. And the entrenched institutions failed to promptly "give birth to" a modern as well as civilized social system across the board. The traditional "patriarchal clan" concept culture was also articulated In Zhang Ailing's ''Half of Lifelong Romance''. "Patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" are the key words in the work: "Patriarchal chiefs system" indicates that the greatest authority and property would be passed to the first-born son (嫡长子) delivered by the eldest wife or a concubine while following the institution of polygamy in the Chinese imperial system. Under the circumstance, and the rest of the sons(庶子) would be deemed to be less noble than the eldest son. The hereditary king of the Zhou Dynasty was called the Son of Heaven, who was the political master of the world. And the throne and the position of the great lords would only be inherited by the eldest son of the eldest wife once the dominant character passed away. It is notable that the integrity and competence were not taken into account for selecting heads of all levels of power. In Half of Lifelong Romance, Shen Xiaotong(Shen Shijun's father) was of the higest rank of nobility in the Shen clan and his supremacy could be alloted to anyone at his disposal. A wife and a concubine of Shen Xiaotong were respectively described, one of them was lawfully wedded wife and the other one was given the support of concubinage. The male master of the story is the eldest son of lawful spouse, he was attempting to earn a tint of fortune in Shanghai. Therefore, it is described in the plot that when Shen Xiaotong was seriously ill, he urgently summoned Shen Shijun to return home, and because Shijun could be regarded as "嫡长子", he entrusted "reliance" to Shijun, which also highlights the clout of "patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" in Chinese culture. (Zhao 2012, 132)

'''2.2 Chen Ping(Sanmao)--Soul with the Wind'''

[[File:https://img2.baidu.com/it/u=773314013,2474510191&fm=253&app=120&size=w931&n=0&f=JPEG&fmt=auto?sec=1735750800&t=867685ba4e02159635743f777803ec8c]]
Sanmao, also known as Chen Ping, is a trailblazing writer in China. Her lifelong pursuit of freedom is the miracle of a unique life, the mighty rivers and vast landscapes she talked about in the books serve as the console for thousands of readers to escapism. The cultural elements defined by diversified Chinese traditions could also be identified in ''The Rainy Season Will Never Come''(《雨季不再来》), which includes her pure love and sincere attitude towards people. And the concept is in close alignment with the "universal love" of Mohism, which advocates the practice of love without distinctions despite the respective relationship and origins. Equal care for others, the quality of tolerant and inclusive mentality of Sanmao could always be found in her other articles. (Yu 2017, 33)

'''2.3 Lin Yihan--Fang Siqi, Paradise Lost hidden in Each Ripped Square Sheets'''

Lin Yihan, a Chinese female writer, inherits the writing style of Zhang Ailing and employs differentiated methods to render unusual sentiment. The inanimated language use framing individual trama boldly conceals agonizing excruciation, wind and rain leaves no trace but the massive edification. Her work ''Fang Siqi's First Love Paradise''(《房思琪的初恋乐园》) tells the story of a girl named Fang Siqi being seduced for a long time by Li Guohua who was a teacher of a private school. The work makes inquiries for women’s right of speech. It describes the female image fallen in line with the patriarchal culture in Taiwan, pointing out that the patriarchal culture is subtly disciplining women in the name of literature and education by its fabricated moral conventions. For example, the elder sister Yi Wen, though highly educated with enjoyment of intellectual pursuit, found her husband's family which was of the same descent as hers still forced her to bring them a son (in traditional Chinese thinking. Women are still fertility tools and believed to bore “promising” pregnancy with a definite son); The insult that Siqi received turned the traditional concept (even if it was not the victim's fault at all) into a piece of "rotten meat" (the crime of erosion was cleverly attributed to the victim). (Wang 2002, 4)

'''2.4 Li Bihua--Ghost(Unchained Empathy)'''

Li Bihua, a Chinese writer, treats challenging materials with grace and poignancy, luxuriating in her own eccentric wording, twisted plot, evocative emotions. Although the content of her work ''Dumplings''(《饺子》)is quirky and daring with novelettish feelings, it is a distinctive literary "step" to use the food of Hong Kong, Macao and Guangdong as the bait to "trick" the reader to the emotional climax. When the readers understand the truth, they are already trapped in it. Shrimp dumplings, egg tarts, marinated duck, Chinese bird's nest cake, these delicacies with Chinese regional characteristics symbolize not only the basis of the plot but also the carrier of culture. (Jia 2004, 103)

'''3. Summary'''

Despite only one different Chinese character("literature" stands for "文学" and "culture" refers to "文化"), "literature" and "culture" encapsulates the zeitgeist of different eras. Feminist criticism and theoretical discourse enlightenment in the scope of Chinese culture to varying degrees can be gleaned from the four female writers with their particularized narratives introduced in this article, which could facilitate related progress. Besides, we surely could witness the renewed transformation in the connotation of Chinese culture adapting to the ongoing advance of feminist literature. It could also be certified that the interpretation of female writers pursue gender liberation as well as equality and freedom. Winston Churchill once said, "A culture that does not accompany its strength may face cultural extinction." Perhaps culture itself does not have to incorporate into the traditional discourse. However, it could not be built upon the cornerstone of the innocent and blameless lives while there would be someone shouting "the unbearable lightness of being". (Lin 2004, 139)

'''Terms and Expressions:'''

''Dream of Genius'' 《天才梦》

''Half of Lifelong Romance'' 《半生缘》

May Fourth Movement 五四运动

Patriarchal clan system(the feudal clan system) 宗法制

Patriarchal chiefs system 嫡长子继承制

patriarchal culture 父权文化

the Son of Heaven 天子

concubine 妾；姨太太

''The Rainy Season Will Never Come'' 《雨季不再来》

Universal love 兼爱

Mohism 墨家思想

''Fang Siqi's First Love Paradise'' 《房思琪的初恋乐园》

''Dumplings'' (饺子》

Shrimp dumplings 虾饺

egg tarts 蛋挞

marinated duck 卤水鸭

Chinese bird's nest cake 燕窝糕

'''Questions:'''

1. After reading this article, what's your personal view on the development of Chinese culture and women's literature?

2. Do you think Chinese female literature has a positive impact on breaking down the dregs of feudal culture(the negative effect not the positive ones)?

3. What do "patriarchal clan system" and "patriarchal chiefs system" have in common?

4. How would you rate each of the female writers featured in this article?

5. Do you have different thoughts on promoting Chinese culture through literary works? (creative measures are largely welcomes!)

'''Answers:'''

1. They could supplement each other with the parts of significance and they could contribute to the common development of each other.

2. Yes sure it is. As there exists the underlying need for women writers to foster pacesetters in terms of illuminating the harsh reality, we need to know what should be put in place once the obsolete ones face their time.

3. The two concepts share the same matrix of "the eldest male 'brought' by the legally married wife(also the eldest) could be rewarded with dominance.

4. No, I'm afraid I would not rate each of them as I'm not qualified to do that. So sorry.

5. Social platform, media, live-streaming, drama(the collision between the modern times and the past traditions).

'''References:'''

[1] Frevert, Ute. 2016. The History of Emotions [G]∥Lisa F. Barrett et. Al. Handbook of Emotions(4th ed.). New York /London: The Guilford Press, 49-65．

[2] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.

[3] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals [M]. Cambridge: CUP, 1999,

''Note: The references below are of actual Chinese version in the origins(the original Chinese references are given in the last part) and I translated them for your better appreciation. Thank you very much.''

[4] YN Jia. Where the soul drifts towards: a discussion on the fate of women in Li Bihua's novels [J]. ''Contemporary Literature Research,'' 2004, (03): 102-104.

[5] DY Lin. The literary situation of female discourse [J]. ''Southeast Academic,'' 2004,(01):132-140.

[6] YH Lin. Fang Siqi’s first love paradise. [M]. Beijing: Beijing United Publishing Co, Ltd, 2018.

[7] Liu Guangyu, Dong Ling. Evolution of female roles and Chinese women's Liberation: a cultural perspective of modern Chinese feminine literature [J]. ''Journal of Shandong Normal University (Social Science Edition)'', 2000, (02): 10-14.

[8] Sanmao. The rainy season will never come [M]. Beijing: Beijing October Art & Literature Publishing, 2009.

[9] Wang Bingjun, Wang Yan, Wang Min 'an, et al. Space, modernity and cultural memory [J]. ''Foreign Literature,'' 2006, (04): 76-87.

[10] Wang Ning. Cultural identity and Chinese Literary Critical Discourse [J]. ''Gansu Social Sciences,'' 2002, (01): 3-6.

[11] DQ Yu. Another work of Sanmao from the perspective of text narrative [J]. ''Chinese Research,'' 2017, (15): 33-34.

[12] AL Zhang. Half of lifelong romance [M]. Beijing: Beijing October Art & Literature Publishing, 2012.

[13] JY Zhao. The fading rose in the vanity world: the phenomenon of female alienation in the works of Fitzgerald and Zhang Ailing [J]. ''Literary Debate,'' 2012, (08): 131-134.

'''女性作家专题：张爱玲、陈平（三毛）、林奕含及李碧华'''

廖文垚

'''1.引言'''

文学作品与文化有着密不可分的关系，一方面，文学作品的本质在于其或通过特定的情节传递出文化特质，或使用语言符号作为载体呈现出人类在现代性变革中的复杂时空感知，而“现代性是一种关于时间的文化”，伴随着物理层面上时间轴的延长，空间场所的不断扩张，一种继生于存在体验、精神超脱的复杂织体与描述到的文化历史、宗教观念相有关联。另一方面，文化必会影响文学作品的撰写与发展，设置特定的“文化景观”，而影响文化世界的展开以及个人体验形式的回溯展望。以古贯今，中国女性文学历史渊源极深，发展长路漫漫，女性作家跃然而起，与男性作家一样，挥笔毫墨间，钻仰中华文化之渊秘，涣尔书陈底蕴之冰开。女性介入历史性书写，建构自身话语体系，能够体现出不同时期中国女性文学文本批评文化，更有适时女性于挣扎中寻找自我、追求新时代性别平等思潮文化的复杂要求，这也是中国文化的组成部分，而接下来，笔者会介绍四位女性作家以及其中的文化元素和内涵，进而研讨女性文学作品中彰显的中国文化要素。(Wang 2006, 78)

'''2.四位女作家介绍及涉及文化要素'''

具体内容详见下文。

'''2.1 张爱玲——“天才传奇梦”'''

张爱玲是20世纪中国最具影响力的女作家之一。而这一节将首要谈到“文化研究”与“文化身份”，后者依托后殖民理论析述，移用于前者中去（前者是一类理论话语），从文艺美学的层面来看，即为肯定研究主体“存在即合理”以及自身具备的美学价值；从文学研究的外延层面来看，是为语境式研究和文本式研究相结合的。“文化身份”诉诸包含文学和文化研究中的民族本质特征和带有民族印记的文化本质特征。该点在张爱玲的作品《半生缘》中亦有体现：彼时新思潮旧学识交织纷杂，封建意识盘踞不下，而西方思想已然侵染其中。故事的女主人翁——顾曼桢，其“文化身份”具有不确定性以及一定程度上的矛盾性。在思想上，顾曼桢经受“五四时代”精神洗礼，抗拒母亲自以为“义”的婚事（即与豫瑾——她姐姐的未成“初恋”同婚），坚守着“婚恋自由”“婚娶自主”的追求而选择沈世钧，在宗法人伦视角下传统母女关系的多重性表现中，该角色超越传统女儿形象建构；然而在后续的情节发展中，主人公的“文化身份”又显现出“矛盾”底色来，“自由”与“人伦”，是非“鱼与熊掌焉”？女主角毅然踏入与强奸犯的婚姻中，曲折妥协的“自戕”加深了悲惨的论调，“在人伦情感的掩护下,女儿对情感的追求就容易滑入宗法等级下的没有自我的深渊。张爱玲也正是借了这个人物，揭示了即使已有”德先生“”赛先生“旗帜高悬于青天之上，仍裹挟于传统宗法文化洪流中的女性文化发展的矛盾性。(Liu 2000, 12)

正如前文所述，作品的历史背景展现的是一个既无法摆脱虬扎良久的过往固有规制体系，又无法根彻地“胎生”出一套现代文明的社会体制的“光怪陆离”的时代；在张爱玲的《半生缘》这部作品中，传统的“宗法人伦”观念文化得以窥见。“宗法制”，“嫡长子继承制”则是“缘”中的关键词：“嫡长子继承制”是指古代统治者实行一夫多妻制，多妻中有一个正妻，即“嫡”，其子为嫡子；其他妻子为”庶“，其子为庶子。按照周制，最高统治者称为天子，统治天下的土地和臣民，继承王位的，也必须是嫡长子，至于贤良与否，并不作考究。在《半生缘》这部作品中，沈啸桐为权力的下发人，上位者；书中只写了两位地位相当的夫人——正房沈夫人以及“二房”“鼓楼那个”；故事的男主人翁是大房沈夫人的儿子，年纪是在社会上初闯荡着的。如此一来，在文中就有描述，在沈啸桐病重时，急召沈世钧返家，并正因世钧是正房所出——归属于“嫡长子”范畴，便将“倚靠”托给了世钧，这样的情节并也凸显出“嫡长子继承制”在文化中之根基久深来。(Zhao 2012, 132)

'''2.2 陈平（三毛）——“自由的灵魂”'''

三毛，又名陈平，中国著名女作家。她一生追求自由，是独特生命的奇迹；她笔下走过的万水千山，是以给万千读者聊以生命的慰藉。当然，在她的《雨季不再来》一书中，也能察觉到部分中华文化元素的体现，包括其博爱且真挚的思想情感，这与墨家思想中的“兼爱”不谋而合，后者倡导无差别地爱一切人，不分亲疏贵贱，平等地关爱他人（从三毛其他地作品里也能看到三毛宽容、包容地心态是时常存在着的）。(Yu 2017, 33)

'''2.3林奕含——“房思琪，拆开的每一个格子里都是失掉的乐园”'''

林奕含，中国女作家，文风承接“张派”，雕词论调不走寻常路，乖拗的文字外壳下是一层焦冷捻湿的伤痛，风雨虽无飘荡，却也是漫山遍野的今天和琳琅。她的作品《房思琪的初恋乐园》通过讲述少女房思琪被补习班教师李国华长期诱奸一事，叩问情节背后隐藏的话语权问题。小说描写了在台湾社会男权文化治下的女性群像,指出男权文化正以其编造的道德惯例、正以文学和教养的名义潜移默化地规训女性。例如，书中的伊纹姐姐，即使受过了高等教育，寻得的夫家也是一介清流，仍要逼迫着生贵子（中国传统思想，女人仍旧是生育工具，所承诺的只有大着的肚子和必须生下的男胎）；思琪受到的侮辱，给传统观念（即使完全不是受害者的错）下拧成了一坨烂肉（糜烂的罪孽被巧言令色地嫁祸给了受害者）。 (Wang 2002, 4)

'''2.4 李碧华——“人鬼情未了”'''

李碧华，中国作家，笔风辛辣，文力凄艳悲凉，情节诡谲丛生，鬼魅无影。她的作品《饺子》中虽内容诡丽阴冷，情感黏滞，但极有特色地将港澳及广东地区的食物作“诱引”，一步步将读者“骗”到情感高潮处，待醒悟已是浑然困宥于其中矣。虾饺、蛋挞、卤水鸭、燕窝糕，这些具有中国地区特色的美食，既成为了情节的依托，也作为了文化的载体。(Jia 2004, 103)

'''3.结语'''

“文学”与“文化”，虽只有一字之差，但都反映了时代下的精华。文中介绍的四位女作家，虽文风有所不同，但都不同程度地反映了中华文化范围内女性主义批评思潮与理论话语启蒙，而这一进程虽仍在行进之中，但也形成一定态势。当然，我们更能看到在语境变迭发展下，在女性主义文学发展下的中华文化内涵发生了新的变化，也能看到女性文人追求性别解放、争取平等自由的诠释。丘吉尔说过：“不伴随力量的文化，到明天将成为灭绝的文化。”，或许，文化不必在于传统话语之“重”，只是，不能再踩踏在无辜的血肉冤魂之上，高喊“生命不能承受之轻”。(Lin 2004, 139)

'''问答中文原文：'''

1.看完本文后，你对於中国文化及女性文学发展有什么样的看法吗？

2.你是否认为中国女性文学对破除封建文化糟粕具有积极影响？

3.“宗法制”和“嫡长子继承制”是什么意思？

4.给本文中涉及到的女性作家打分的话，你每个会打几分？

5.对于以文学作品宣扬中华文化，你是否有不一样的见解？（可以谈谈具体措施）

1. 他们相互补充，并为彼此的共同发展做出贡献。

2. 当然。由于需要女性作家先行揭示（以文笔）残酷现实，我们必须破旧立新。

3. 这两个概念相同之处就是大房的长子一般能获得统治地位。

4. 不好意思，我觉得我还达不到能给她们打分的水平。

5. 社交平台、媒体、直播、戏剧（现代与过去传统的碰撞）。

'''参考文献：'''

[1]贾颖妮. 魂归何处——论李碧华小说对女性命运的探讨[J]. 当代文坛, 2004, (03): 102-104.

[2]林丹娅.女性话语的文学境遇[J].东南学术,2004,(01):132-140.

[3]林奕含. 房思琪的初恋乐园[M]. 北京: 北京联合出版公司, 2018.

[4]刘光宇,冬玲. 女性角色演变与中国妇女解放——中国现代女性文学的文化透视[J]. 山东师大学报(社会科学版), 2000, (02): 10-14.

[5] 三毛. 雨季不再来[M]. 北京: 北京十月文艺出版社, 2009.

[6] 王炳钧,王炎,汪民安,等. 空间、现代性与文化记忆[J]. 外国文学, 2006, (04): 76-87.

[7] 王宁. 文化身份与中国文学批评话语的建构[J]. 甘肃社会科学, 2002, (01): 3-6.

[8] 喻徳琴. 文本叙事角度下的《梦里花落知多少》[J]. 语文建设, 2017, (15): 33-34.

[9] 张爱玲. 半生缘[M]. 北京: 北京十月文艺出版社, 2012.

[10] 赵劲鹰. 浮华世界凋零的玫瑰——菲茨杰拉德和张爱玲作品中的女性异化现象[J]. 文艺争鸣, 2012, (08): 131-134.

[11] Frevert, Ute. 2016. The History of Emotions [G]∥Lisa F. Barrett et. Al. Handbook of Emotions(4th ed.). New York /London: The Guilford Press, 49-65．

[12] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.

[13] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals [M]. Cambridge: CUP, 1999,

I hereby guarantee that I have not used the help of AI to write my final paper in this course.

User:Liao Wenyao

2024-12-31T05:53:26Z

Liao Wenyao:

My name is Liao Wenyao and I love eating fruits. I used to be a student and I am still a student for now. I major in English interpretation now and the official name for my master degree is Master of Translation and Interpretation. The college that I get enrolled in is Hunan Normal University. I have no pets and am not allergic to anything. I love playing badminton but I haven’t played it for quite a loooooong time. I might have obsessive-compulsive disorder and we all wish we can make great academic achievement and may the world in peace. See it, say it, sorted.

'''''Tips: From November 10th to December 5th, I learned the lyrics of a song by one line per day, and then I asked AI for the grammar, vocabularies, translation and the pronunciation of them.'''''

'''2024.11.10''' I learned with AI for "J'ai touché l'enfance de mes doigts encore feutrés（中文：我用湿漉漉的手指触摸了童年）"

'''2024.11.11''' I learned with AI for "Ressassé cette histoire comme si je l'avais recontrée（中文：重讲这个故事，就好像我又碰到她了一样）"

'''2024.11.12''' I learned with the help of AI for "La vraie belle nouveauté c'est celle qui ne vieillit pas（中文：真正美丽的新奇玩意儿永不过时）"

'''2024.11.13''' I learned with the help of AI for "Celle qui nous garde les ciels pastels l'orage quand il fait froid（中文：当凛冽的暴风雨来临时，让我们保留柔软的天空）"

'''2024.11.14''' I learned with the help of AI for "Je laisse aux autres les demain（中文：把明天留给别人）"

'''2024.11.15''' I learned with the help of AI for "Moi je prends que les maintenant（中文：我只想珍惜当下）"

'''2024.11.16''' I learned with the help of AI for "Si c'est pou penser la fin（中文：若要考虑未来的结局）"

'''2024.11.17''' I learned with the help of AI for "Compte sur mes rêves d'enfant（中文：那就让我仰赖童年的梦想）"

'''2024.11.18''' I learned with the help of AI for "Petite je fuis le tempts déja peur des convenances（中文：小时候，时间给我逃了脱，已然使我害怕礼节）"

'''2024.11.19''' I learned with the help of AI for "Et la vraie étoffe des gens c'est fou tout ce qui'ils pensent（中文：而人们所有的真实，他们想的一切都是疯狂的）"

'''2024.11.20''' I learned through AI for "C'est triste toute cette méfiance faudrait suivre l'aivon en papier（中文：可悲啊，所有这些猜疑，应该跟着纸飞机走）"

'''2024.11.21''' I learned through AI for "Hurler pour s'envoler surtout quand on pense au passé（中文：尖叫着飞翔着，尤其是当你想回到过去时）"

'''2024.11.22''' I learned through AI for "J'regrette mon adolescence（中文：我后悔我的青春期）"

'''2024.11.23''' I learned through AI for "Et pourtant c'est pas fini（中文：但它还没有结束）"

'''2024.11.24''' I learned through AI for "Quand t'es petit y'a la méfiance（中文：当你还小，就会对别人猜猜点点的)"

'''2024.11.25''' I learned through AI for "Puis après vient le mépris（中文：然后又轻蔑）"

'''2024.11.26''' I learned through AI for "Y'a des jours ou ca va mal（中文：有时候事情总不对）"

'''2024.11.27''' I learned through AI for "C'est que t'oublies quand ca va bien（中文：只要你什么时候好就忘了）"

'''2024.11.28''' I learned thorugh AI for "Les adultes ils crient ils ralent（中文：大人们又叫又哭的）”

'''2024.11.29''' I learned through AI for “Disent des choses qui servant à rien （中文：说些没用的话）”

'''2024.11.30''' I learned through Ai for “Tu passe ta vie dans le passé（中文：人的一生都在进行过去时）

'''2024.12.1''' I learned the “Et pourtant c'est pas si beau（中文：但并不总那么美丽）”

'''2024.12.2''' I learned the “Tu te souviens des jours usés ?（中文：你还记得过去的日子吗？）” with AI

'''2024.12.3''' I learned the “Des mois de mai, des batailles d'eau（中文：五月的水战）” with AI

'''2024.12.4''' I learned the “Faut s'y faire t'es juste grand（中文：你得习惯，只不过是个子比别人高了一些而已）”and “Y'en aura pleins tu verras（中文：会有很多你能看到的）” with AI

'''2024.12.5''' I learned the “Des belles choses, des bons moments（中文：美好的事物啊美好的时光）” and “Des belles choses, des bons moments（中文：当一切结束，你又会后悔）” with AI

'''Note: I decide to learn something else~''''I would like to learn a French poem with the magical assistance of A''I(the poem is called Pour Demian)''.''

'''2024.12.6''' I learned the "Vous que le printemps opéra(奇迹春天唾手而成魔术)" with AI;

'''2024.12.7''' I learned the "Miracles ponctuez ma stance(请替我的诗章断句分行)" with AI;

'''2024.12.8''' I learned the "Mon esprit épris du départz(我的迷恋于出走的思想)" with AI;

'''2024.12.9''' I learned the "Dans un rayon soudain se perd(陡然间消失于一线光亮)" with AI;

'''2024.12.10''' I learned the "Perpétué par la cadence(又由光的节奏频频延续)" with AI;

'''2024.12.11''' I learned the "La Seine au soleil d'avril danse(塞纳河荡漾于四月艳阳)" with AI;

'''2024.12.12''' I learned the "Comme Cécile au premier bal(像塞西尔首次翩然领舞)" with AI;

'''2024.12.13''' I learned the "Ou plutôt roule des pépites(又似卷拂起细密的金砾)" with AI;

'''2024.12.14''' I learned the "Vers les ponts de pierre ou les cribles(涌向那道道石桥或筛网)" with AI;

'''2024.12.15''' I learned the "Charme sûr La ville est le val(耐看的幻美城池化溪谷)" with AI;

'''2024.12.16''' With the help of AI, I learned the "Les quais gais comme en carnaval(左右堤岸节日般狂欢)" .

'''2024.12.17''' With the help of AI, I learned the "Vont au devant de la lumière(一起拥戴那光明远去)".

'''2024.12.18''' With the help of AI, I learned the "Elle visite les palais(她驾临的重重宫殿)".

'''2024.12.19''' With the help of AI, I learned the "Et les roses du jour aux vitres(和窗扇掩映的盛开玫瑰)".

'''Female Writers: Zhang Ailing, Chen Ping(Sanmao), Lin Yihan and Li Bihua'''

Written by Liao Wenyao(Rose)

'''1. Introduction'''

Literature is closely related to culture. In the first place, the nature of literary works lies in its capacity to convey the unique essence of certain culture through specific plots. It could also capture the complexities of human experiences shaped by transcendental concepts of time and space in the context of modernity transformation with the usage of language as the vehicle. "Modernity is a culture over time", as the timeline lengthens and the space witnesses continuous dilation from the sheer perspective of physics, an intricate self inherited from the previous existence and spiritual detachment becomes intertwined with the culture as well as history and religious notions that have been portrayed. On the other side of the coin, culture always has a profound impact on the production and development of literary works. The cultural setting would often influence the expansion of the cultural world and the retrospective prospect of individual episodes. From ancient civilizations to modern times, the female literary tradition in China has deep historical roots. Female literature that heralds women's efforts to strive for deserved status notes slow progress and the state of fragility. And female writers, as other male writers, delve into the most speculative and enigmatic appreciation of Chinese culture, unravel evolving understanding of human nature. Therefore, women's engagement in literature production and their own discourse system could reflect female literary criticism culture in different periods. Those endeavors mirrors the impenetrable requirements of women's pursuit of self-discovery and gender equality that has been regarded as the ideological trend culture in the given era. The rumination also served as an integral part of Chinese culture. In the following text, four female writers and the involved cultural components and connotations will be introduced. The discussion of the elements of Chinese culture would be manifested in female literary works. (Wang 2006, 78)

'''2. Four Female Writers and the Involved Chinese Culture'''

The specifics will be given below.

'''2.1 Zhang Ailing(张爱玲)--A Dream of Genius and Legend(''Dream of Genius''(《天才梦》) is also one of her literary work)'''

Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)

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As what has been mentioned above, the historical background of the work demonstrates a "grotesque" era in which the endogenous regulatory system that has been existed from the past hundred years engaged deeply with aspects of the social mobility. And the entrenched institutions failed to promptly "give birth to" a modern as well as civilized social system across the board. The traditional "patriarchal clan" concept culture was also articulated In Zhang Ailing's ''Half of Lifelong Romance''. "Patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" are the key words in the work: "Patriarchal chiefs system" indicates that the greatest authority and property would be passed to the first-born son (嫡长子) delivered by the eldest wife or a concubine while following the institution of polygamy in the Chinese imperial system. Under the circumstance, and the rest of the sons(庶子) would be deemed to be less noble than the eldest son. The hereditary king of the Zhou Dynasty was called the Son of Heaven, who was the political master of the world. And the throne and the position of the great lords would only be inherited by the eldest son of the eldest wife once the dominant character passed away. It is notable that the integrity and competence were not taken into account for selecting heads of all levels of power. In Half of Lifelong Romance, Shen Xiaotong(Shen Shijun's father) was of the higest rank of nobility in the Shen clan and his supremacy could be alloted to anyone at his disposal. A wife and a concubine of Shen Xiaotong were respectively described, one of them was lawfully wedded wife and the other one was given the support of concubinage. The male master of the story is the eldest son of lawful spouse, he was attempting to earn a tint of fortune in Shanghai. Therefore, it is described in the plot that when Shen Xiaotong was seriously ill, he urgently summoned Shen Shijun to return home, and because Shijun could be regarded as "嫡长子", he entrusted "reliance" to Shijun, which also highlights the clout of "patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" in Chinese culture. (Zhao 2012, 132)

'''2.2 Chen Ping(Sanmao)--Soul with the Wind'''

Sanmao, also known as Chen Ping, is a trailblazing writer in China. Her lifelong pursuit of freedom is the miracle of a unique life, the mighty rivers and vast landscapes she talked about in the books serve as the console for thousands of readers to escapism. The cultural elements defined by diversified Chinese traditions could also be identified in ''The Rainy Season Will Never Come''(《雨季不再来》), which includes her pure love and sincere attitude towards people. And the concept is in close alignment with the "universal love" of Mohism, which advocates the practice of love without distinctions despite the respective relationship and origins. Equal care for others, the quality of tolerant and inclusive mentality of Sanmao could always be found in her other articles. (Yu 2017, 33)

'''2.3 Lin Yihan--Fang Siqi, Paradise Lost hidden in Each Ripped Square Sheets'''

Lin Yihan, a Chinese female writer, inherits the writing style of Zhang Ailing and employs differentiated methods to render unusual sentiment. The inanimated language use framing individual trama boldly conceals agonizing excruciation, wind and rain leaves no trace but the massive edification. Her work ''Fang Siqi's First Love Paradise''(《房思琪的初恋乐园》) tells the story of a girl named Fang Siqi being seduced for a long time by Li Guohua who was a teacher of a private school. The work makes inquiries for women’s right of speech. It describes the female image fallen in line with the patriarchal culture in Taiwan, pointing out that the patriarchal culture is subtly disciplining women in the name of literature and education by its fabricated moral conventions. For example, the elder sister Yi Wen, though highly educated with enjoyment of intellectual pursuit, found her husband's family which was of the same descent as hers still forced her to bring them a son (in traditional Chinese thinking. Women are still fertility tools and believed to bore “promising” pregnancy with a definite son); The insult that Siqi received turned the traditional concept (even if it was not the victim's fault at all) into a piece of "rotten meat" (the crime of erosion was cleverly attributed to the victim). (Wang 2002, 4)

'''2.4 Li Bihua--Ghost(Unchained Empathy)'''

Li Bihua, a Chinese writer, treats challenging materials with grace and poignancy, luxuriating in her own eccentric wording, twisted plot, evocative emotions. Although the content of her work ''Dumplings''(《饺子》)is quirky and daring with novelettish feelings, it is a distinctive literary "step" to use the food of Hong Kong, Macao and Guangdong as the bait to "trick" the reader to the emotional climax. When the readers understand the truth, they are already trapped in it. Shrimp dumplings, egg tarts, marinated duck, Chinese bird's nest cake, these delicacies with Chinese regional characteristics symbolize not only the basis of the plot but also the carrier of culture. (Jia 2004, 103)

'''3. Summary'''

Despite only one different Chinese character("literature" stands for "文学" and "culture" refers to "文化"), "literature" and "culture" encapsulates the zeitgeist of different eras. Feminist criticism and theoretical discourse enlightenment in the scope of Chinese culture to varying degrees can be gleaned from the four female writers with their particularized narratives introduced in this article, which could facilitate related progress. Besides, we surely could witness the renewed transformation in the connotation of Chinese culture adapting to the ongoing advance of feminist literature. It could also be certified that the interpretation of female writers pursue gender liberation as well as equality and freedom. Winston Churchill once said, "A culture that does not accompany its strength may face cultural extinction." Perhaps culture itself does not have to incorporate into the traditional discourse. However, it could not be built upon the cornerstone of the innocent and blameless lives while there would be someone shouting "the unbearable lightness of being". (Lin 2004, 139)

'''Terms and Expressions:'''

''Dream of Genius'' 《天才梦》

''Half of Lifelong Romance'' 《半生缘》

May Fourth Movement 五四运动

Patriarchal clan system(the feudal clan system) 宗法制

Patriarchal chiefs system 嫡长子继承制

patriarchal culture 父权文化

the Son of Heaven 天子

concubine 妾；姨太太

''The Rainy Season Will Never Come'' 《雨季不再来》

Universal love 兼爱

Mohism 墨家思想

''Fang Siqi's First Love Paradise'' 《房思琪的初恋乐园》

''Dumplings'' (饺子》

Shrimp dumplings 虾饺

egg tarts 蛋挞

marinated duck 卤水鸭

Chinese bird's nest cake 燕窝糕

'''Questions:'''

1. After reading this article, what's your personal view on the development of Chinese culture and women's literature?

2. Do you think Chinese female literature has a positive impact on breaking down the dregs of feudal culture(the negative effect not the positive ones)?

3. What do "patriarchal clan system" and "patriarchal chiefs system" have in common?

4. How would you rate each of the female writers featured in this article?

5. Do you have different thoughts on promoting Chinese culture through literary works? (creative measures are largely welcomes!)

'''Answers:'''

1. They could supplement each other with the parts of significance and they could contribute to the common development of each other.

2. Yes sure it is. As there exists the underlying need for women writers to foster pacesetters in terms of illuminating the harsh reality, we need to know what should be put in place once the obsolete ones face their time.

3. The two concepts share the same matrix of "the eldest male 'brought' by the legally married wife(also the eldest) could be rewarded with dominance.

4. No, I'm afraid I would not rate each of them as I'm not qualified to do that. So sorry.

5. Social platform, media, live-streaming, drama(the collision between the modern times and the past traditions).

'''References:'''

[1] Frevert, Ute. 2016. The History of Emotions [G]∥Lisa F. Barrett et. Al. Handbook of Emotions(4th ed.). New York /London: The Guilford Press, 49-65．

[2] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.

[3] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals [M]. Cambridge: CUP, 1999,

''Note: The references below are of actual Chinese version in the origins(the original Chinese references are given in the last part) and I translated them for your better appreciation. Thank you very much.''

[4] YN Jia. Where the soul drifts towards: a discussion on the fate of women in Li Bihua's novels [J]. ''Contemporary Literature Research,'' 2004, (03): 102-104.

[5] DY Lin. The literary situation of female discourse [J]. ''Southeast Academic,'' 2004,(01):132-140.

[6] YH Lin. Fang Siqi’s first love paradise. [M]. Beijing: Beijing United Publishing Co, Ltd, 2018.

[7] Liu Guangyu, Dong Ling. Evolution of female roles and Chinese women's Liberation: a cultural perspective of modern Chinese feminine literature [J]. ''Journal of Shandong Normal University (Social Science Edition)'', 2000, (02): 10-14.

[8] Sanmao. The rainy season will never come [M]. Beijing: Beijing October Art & Literature Publishing, 2009.

[9] Wang Bingjun, Wang Yan, Wang Min 'an, et al. Space, modernity and cultural memory [J]. ''Foreign Literature,'' 2006, (04): 76-87.

[10] Wang Ning. Cultural identity and Chinese Literary Critical Discourse [J]. ''Gansu Social Sciences,'' 2002, (01): 3-6.

[11] DQ Yu. Another work of Sanmao from the perspective of text narrative [J]. ''Chinese Research,'' 2017, (15): 33-34.

[12] AL Zhang. Half of lifelong romance [M]. Beijing: Beijing October Art & Literature Publishing, 2012.

[13] JY Zhao. The fading rose in the vanity world: the phenomenon of female alienation in the works of Fitzgerald and Zhang Ailing [J]. ''Literary Debate,'' 2012, (08): 131-134.

'''女性作家专题：张爱玲、陈平（三毛）、林奕含及李碧华'''

廖文垚

'''1.引言'''

文学作品与文化有着密不可分的关系，一方面，文学作品的本质在于其或通过特定的情节传递出文化特质，或使用语言符号作为载体呈现出人类在现代性变革中的复杂时空感知，而“现代性是一种关于时间的文化”，伴随着物理层面上时间轴的延长，空间场所的不断扩张，一种继生于存在体验、精神超脱的复杂织体与描述到的文化历史、宗教观念相有关联。另一方面，文化必会影响文学作品的撰写与发展，设置特定的“文化景观”，而影响文化世界的展开以及个人体验形式的回溯展望。以古贯今，中国女性文学历史渊源极深，发展长路漫漫，女性作家跃然而起，与男性作家一样，挥笔毫墨间，钻仰中华文化之渊秘，涣尔书陈底蕴之冰开。女性介入历史性书写，建构自身话语体系，能够体现出不同时期中国女性文学文本批评文化，更有适时女性于挣扎中寻找自我、追求新时代性别平等思潮文化的复杂要求，这也是中国文化的组成部分，而接下来，笔者会介绍四位女性作家以及其中的文化元素和内涵，进而研讨女性文学作品中彰显的中国文化要素。(Wang 2006, 78)

'''2.四位女作家介绍及涉及文化要素'''

具体内容详见下文。

'''2.1 张爱玲——“天才传奇梦”'''

张爱玲是20世纪中国最具影响力的女作家之一。而这一节将首要谈到“文化研究”与“文化身份”，后者依托后殖民理论析述，移用于前者中去（前者是一类理论话语），从文艺美学的层面来看，即为肯定研究主体“存在即合理”以及自身具备的美学价值；从文学研究的外延层面来看，是为语境式研究和文本式研究相结合的。“文化身份”诉诸包含文学和文化研究中的民族本质特征和带有民族印记的文化本质特征。该点在张爱玲的作品《半生缘》中亦有体现：彼时新思潮旧学识交织纷杂，封建意识盘踞不下，而西方思想已然侵染其中。故事的女主人翁——顾曼桢，其“文化身份”具有不确定性以及一定程度上的矛盾性。在思想上，顾曼桢经受“五四时代”精神洗礼，抗拒母亲自以为“义”的婚事（即与豫瑾——她姐姐的未成“初恋”同婚），坚守着“婚恋自由”“婚娶自主”的追求而选择沈世钧，在宗法人伦视角下传统母女关系的多重性表现中，该角色超越传统女儿形象建构；然而在后续的情节发展中，主人公的“文化身份”又显现出“矛盾”底色来，“自由”与“人伦”，是非“鱼与熊掌焉”？女主角毅然踏入与强奸犯的婚姻中，曲折妥协的“自戕”加深了悲惨的论调，“在人伦情感的掩护下,女儿对情感的追求就容易滑入宗法等级下的没有自我的深渊。张爱玲也正是借了这个人物，揭示了即使已有”德先生“”赛先生“旗帜高悬于青天之上，仍裹挟于传统宗法文化洪流中的女性文化发展的矛盾性。(Liu 2000, 12)

正如前文所述，作品的历史背景展现的是一个既无法摆脱虬扎良久的过往固有规制体系，又无法根彻地“胎生”出一套现代文明的社会体制的“光怪陆离”的时代；在张爱玲的《半生缘》这部作品中，传统的“宗法人伦”观念文化得以窥见。“宗法制”，“嫡长子继承制”则是“缘”中的关键词：“嫡长子继承制”是指古代统治者实行一夫多妻制，多妻中有一个正妻，即“嫡”，其子为嫡子；其他妻子为”庶“，其子为庶子。按照周制，最高统治者称为天子，统治天下的土地和臣民，继承王位的，也必须是嫡长子，至于贤良与否，并不作考究。在《半生缘》这部作品中，沈啸桐为权力的下发人，上位者；书中只写了两位地位相当的夫人——正房沈夫人以及“二房”“鼓楼那个”；故事的男主人翁是大房沈夫人的儿子，年纪是在社会上初闯荡着的。如此一来，在文中就有描述，在沈啸桐病重时，急召沈世钧返家，并正因世钧是正房所出——归属于“嫡长子”范畴，便将“倚靠”托给了世钧，这样的情节并也凸显出“嫡长子继承制”在文化中之根基久深来。(Zhao 2012, 132)

'''2.2 陈平（三毛）——“自由的灵魂”'''

三毛，又名陈平，中国著名女作家。她一生追求自由，是独特生命的奇迹；她笔下走过的万水千山，是以给万千读者聊以生命的慰藉。当然，在她的《雨季不再来》一书中，也能察觉到部分中华文化元素的体现，包括其博爱且真挚的思想情感，这与墨家思想中的“兼爱”不谋而合，后者倡导无差别地爱一切人，不分亲疏贵贱，平等地关爱他人（从三毛其他地作品里也能看到三毛宽容、包容地心态是时常存在着的）。(Yu 2017, 33)

'''2.3林奕含——“房思琪，拆开的每一个格子里都是失掉的乐园”'''

林奕含，中国女作家，文风承接“张派”，雕词论调不走寻常路，乖拗的文字外壳下是一层焦冷捻湿的伤痛，风雨虽无飘荡，却也是漫山遍野的今天和琳琅。她的作品《房思琪的初恋乐园》通过讲述少女房思琪被补习班教师李国华长期诱奸一事，叩问情节背后隐藏的话语权问题。小说描写了在台湾社会男权文化治下的女性群像,指出男权文化正以其编造的道德惯例、正以文学和教养的名义潜移默化地规训女性。例如，书中的伊纹姐姐，即使受过了高等教育，寻得的夫家也是一介清流，仍要逼迫着生贵子（中国传统思想，女人仍旧是生育工具，所承诺的只有大着的肚子和必须生下的男胎）；思琪受到的侮辱，给传统观念（即使完全不是受害者的错）下拧成了一坨烂肉（糜烂的罪孽被巧言令色地嫁祸给了受害者）。 (Wang 2002, 4)

'''2.4 李碧华——“人鬼情未了”'''

李碧华，中国作家，笔风辛辣，文力凄艳悲凉，情节诡谲丛生，鬼魅无影。她的作品《饺子》中虽内容诡丽阴冷，情感黏滞，但极有特色地将港澳及广东地区的食物作“诱引”，一步步将读者“骗”到情感高潮处，待醒悟已是浑然困宥于其中矣。虾饺、蛋挞、卤水鸭、燕窝糕，这些具有中国地区特色的美食，既成为了情节的依托，也作为了文化的载体。(Jia 2004, 103)

'''3.结语'''

“文学”与“文化”，虽只有一字之差，但都反映了时代下的精华。文中介绍的四位女作家，虽文风有所不同，但都不同程度地反映了中华文化范围内女性主义批评思潮与理论话语启蒙，而这一进程虽仍在行进之中，但也形成一定态势。当然，我们更能看到在语境变迭发展下，在女性主义文学发展下的中华文化内涵发生了新的变化，也能看到女性文人追求性别解放、争取平等自由的诠释。丘吉尔说过：“不伴随力量的文化，到明天将成为灭绝的文化。”，或许，文化不必在于传统话语之“重”，只是，不能再踩踏在无辜的血肉冤魂之上，高喊“生命不能承受之轻”。(Lin 2004, 139)

'''问答中文原文：'''

1.看完本文后，你对於中国文化及女性文学发展有什么样的看法吗？

2.你是否认为中国女性文学对破除封建文化糟粕具有积极影响？

3.“宗法制”和“嫡长子继承制”是什么意思？

4.给本文中涉及到的女性作家打分的话，你每个会打几分？

5.对于以文学作品宣扬中华文化，你是否有不一样的见解？（可以谈谈具体措施）

1. 他们相互补充，并为彼此的共同发展做出贡献。

2. 当然。由于需要女性作家先行揭示（以文笔）残酷现实，我们必须破旧立新。

3. 这两个概念相同之处就是大房的长子一般能获得统治地位。

4. 不好意思，我觉得我还达不到能给她们打分的水平。

5. 社交平台、媒体、直播、戏剧（现代与过去传统的碰撞）。

'''参考文献：'''

[1]贾颖妮. 魂归何处——论李碧华小说对女性命运的探讨[J]. 当代文坛, 2004, (03): 102-104.

[2]林丹娅.女性话语的文学境遇[J].东南学术,2004,(01):132-140.

[3]林奕含. 房思琪的初恋乐园[M]. 北京: 北京联合出版公司, 2018.

[4]刘光宇,冬玲. 女性角色演变与中国妇女解放——中国现代女性文学的文化透视[J]. 山东师大学报(社会科学版), 2000, (02): 10-14.

[5] 三毛. 雨季不再来[M]. 北京: 北京十月文艺出版社, 2009.

[6] 王炳钧,王炎,汪民安,等. 空间、现代性与文化记忆[J]. 外国文学, 2006, (04): 76-87.

[7] 王宁. 文化身份与中国文学批评话语的建构[J]. 甘肃社会科学, 2002, (01): 3-6.

[8] 喻徳琴. 文本叙事角度下的《梦里花落知多少》[J]. 语文建设, 2017, (15): 33-34.

[9] 张爱玲. 半生缘[M]. 北京: 北京十月文艺出版社, 2012.

[10] 赵劲鹰. 浮华世界凋零的玫瑰——菲茨杰拉德和张爱玲作品中的女性异化现象[J]. 文艺争鸣, 2012, (08): 131-134.

[11] Frevert, Ute. 2016. The History of Emotions [G]∥Lisa F. Barrett et. Al. Handbook of Emotions(4th ed.). New York /London: The Guilford Press, 49-65．

[12] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.

[13] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals [M]. Cambridge: CUP, 1999,

I hereby guarantee that I have not used the help of AI to write my final paper in this course.

User:Liao Wenyao

2024-12-31T05:50:58Z

Liao Wenyao:

User:Liao Wenyao

2024-12-31T05:43:19Z

Liao Wenyao:

My name is Liao Wenyao and I love eating fruits. I used to be a student and I am still a student for now. I major in English interpretation now and the official name for my master degree is Master of Translation and Interpretation. The college that I get enrolled in is Hunan Normal University. I have no pets and am not allergic to anything. I love playing badminton but I haven’t played it for quite a loooooong time. I might have obsessive-compulsive disorder and we all wish we can make great academic achievement and may the world in peace. See it, say it, sorted.

'''''Tips: From November 10th to December 5th, I learned the lyrics of a song by one line per day, and then I asked AI for the grammar, vocabularies, translation and the pronunciation of them.'''''

'''2024.11.10''' I learned with AI for "J'ai touché l'enfance de mes doigts encore feutrés（中文：我用湿漉漉的手指触摸了童年）"

'''2024.11.11''' I learned with AI for "Ressassé cette histoire comme si je l'avais recontrée（中文：重讲这个故事，就好像我又碰到她了一样）"

'''2024.11.12''' I learned with the help of AI for "La vraie belle nouveauté c'est celle qui ne vieillit pas（中文：真正美丽的新奇玩意儿永不过时）"

'''2024.11.13''' I learned with the help of AI for "Celle qui nous garde les ciels pastels l'orage quand il fait froid（中文：当凛冽的暴风雨来临时，让我们保留柔软的天空）"

'''2024.11.14''' I learned with the help of AI for "Je laisse aux autres les demain（中文：把明天留给别人）"

'''2024.11.15''' I learned with the help of AI for "Moi je prends que les maintenant（中文：我只想珍惜当下）"

'''2024.11.16''' I learned with the help of AI for "Si c'est pou penser la fin（中文：若要考虑未来的结局）"

'''2024.11.17''' I learned with the help of AI for "Compte sur mes rêves d'enfant（中文：那就让我仰赖童年的梦想）"

'''2024.11.18''' I learned with the help of AI for "Petite je fuis le tempts déja peur des convenances（中文：小时候，时间给我逃了脱，已然使我害怕礼节）"

'''2024.11.19''' I learned with the help of AI for "Et la vraie étoffe des gens c'est fou tout ce qui'ils pensent（中文：而人们所有的真实，他们想的一切都是疯狂的）"

'''2024.11.20''' I learned through AI for "C'est triste toute cette méfiance faudrait suivre l'aivon en papier（中文：可悲啊，所有这些猜疑，应该跟着纸飞机走）"

'''2024.11.21''' I learned through AI for "Hurler pour s'envoler surtout quand on pense au passé（中文：尖叫着飞翔着，尤其是当你想回到过去时）"

'''2024.11.22''' I learned through AI for "J'regrette mon adolescence（中文：我后悔我的青春期）"

'''2024.11.23''' I learned through AI for "Et pourtant c'est pas fini（中文：但它还没有结束）"

'''2024.11.24''' I learned through AI for "Quand t'es petit y'a la méfiance（中文：当你还小，就会对别人猜猜点点的)"

'''2024.11.25''' I learned through AI for "Puis après vient le mépris（中文：然后又轻蔑）"

'''2024.11.26''' I learned through AI for "Y'a des jours ou ca va mal（中文：有时候事情总不对）"

'''2024.11.27''' I learned through AI for "C'est que t'oublies quand ca va bien（中文：只要你什么时候好就忘了）"

'''2024.11.28''' I learned thorugh AI for "Les adultes ils crient ils ralent（中文：大人们又叫又哭的）”

'''2024.11.29''' I learned through AI for “Disent des choses qui servant à rien （中文：说些没用的话）”

'''2024.11.30''' I learned through Ai for “Tu passe ta vie dans le passé（中文：人的一生都在进行过去时）

'''2024.12.1''' I learned the “Et pourtant c'est pas si beau（中文：但并不总那么美丽）”

'''2024.12.2''' I learned the “Tu te souviens des jours usés ?（中文：你还记得过去的日子吗？）” with AI

'''2024.12.3''' I learned the “Des mois de mai, des batailles d'eau（中文：五月的水战）” with AI

'''2024.12.4''' I learned the “Faut s'y faire t'es juste grand（中文：你得习惯，只不过是个子比别人高了一些而已）”and “Y'en aura pleins tu verras（中文：会有很多你能看到的）” with AI

'''2024.12.5''' I learned the “Des belles choses, des bons moments（中文：美好的事物啊美好的时光）” and “Des belles choses, des bons moments（中文：当一切结束，你又会后悔）” with AI

'''Note: I decide to learn something else~''''I would like to learn a French poem with the magical assistance of A''I(the poem is called Pour Demian)''.''

'''2024.12.6''' I learned the "Vous que le printemps opéra(奇迹春天唾手而成魔术)" with AI;

'''2024.12.7''' I learned the "Miracles ponctuez ma stance(请替我的诗章断句分行)" with AI;

'''2024.12.8''' I learned the "Mon esprit épris du départz(我的迷恋于出走的思想)" with AI;

'''2024.12.9''' I learned the "Dans un rayon soudain se perd(陡然间消失于一线光亮)" with AI;

'''2024.12.10''' I learned the "Perpétué par la cadence(又由光的节奏频频延续)" with AI;

'''2024.12.11''' I learned the "La Seine au soleil d'avril danse(塞纳河荡漾于四月艳阳)" with AI;

'''2024.12.12''' I learned the "Comme Cécile au premier bal(像塞西尔首次翩然领舞)" with AI;

'''2024.12.13''' I learned the "Ou plutôt roule des pépites(又似卷拂起细密的金砾)" with AI;

'''2024.12.14''' I learned the "Vers les ponts de pierre ou les cribles(涌向那道道石桥或筛网)" with AI;

'''2024.12.15''' I learned the "Charme sûr La ville est le val(耐看的幻美城池化溪谷)" with AI;

'''2024.12.16''' With the help of AI, I learned the "Les quais gais comme en carnaval(左右堤岸节日般狂欢)" .

'''2024.12.17''' With the help of AI, I learned the "Vont au devant de la lumière(一起拥戴那光明远去)".

'''2024.12.18''' With the help of AI, I learned the "Elle visite les palais(她驾临的重重宫殿)".

'''2024.12.19''' With the help of AI, I learned the "Et les roses du jour aux vitres(和窗扇掩映的盛开玫瑰)".

'''Female Writers: Zhang Ailing, Chen Ping(Sanmao), Lin Yihan and Li Bihua'''

Written by Liao Wenyao(Rose)

'''1. Introduction'''

Literature is closely related to culture. In the first place, the nature of literary works lies in its capacity to convey the unique essence of certain culture through specific plots. It could also capture the complexities of human experiences shaped by transcendental concepts of time and space in the context of modernity transformation with the usage of language as the vehicle. "Modernity is a culture over time", as the timeline lengthens and the space witnesses continuous dilation from the sheer perspective of physics, an intricate self inherited from the previous existence and spiritual detachment becomes intertwined with the culture as well as history and religious notions that have been portrayed. On the other side of the coin, culture always has a profound impact on the production and development of literary works. The cultural setting would often influence the expansion of the cultural world and the retrospective prospect of individual episodes. From ancient civilizations to modern times, the female literary tradition in China has deep historical roots. Female literature that heralds women's efforts to strive for deserved status notes slow progress and the state of fragility. And female writers, as other male writers, delve into the most speculative and enigmatic appreciation of Chinese culture, unravel evolving understanding of human nature. Therefore, women's engagement in literature production and their own discourse system could reflect female literary criticism culture in different periods. Those endeavors mirrors the impenetrable requirements of women's pursuit of self-discovery and gender equality that has been regarded as the ideological trend culture in the given era. The rumination also served as an integral part of Chinese culture. In the following text, four female writers and the involved cultural components and connotations will be introduced. The discussion of the elements of Chinese culture would be manifested in female literary works. (Wang 2006, 78)

'''2. Four Female Writers and the Involved Chinese Culture'''

The specifics will be given below.

'''2.1 Zhang Ailing(张爱玲)--A Dream of Genius and Legend(''Dream of Genius''(《天才梦》) is also one of her literary work)'''

Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)

As what has been mentioned above, the historical background of the work demonstrates a "grotesque" era in which the endogenous regulatory system that has been existed from the past hundred years engaged deeply with aspects of the social mobility. And the entrenched institutions failed to promptly "give birth to" a modern as well as civilized social system across the board. The traditional "patriarchal clan" concept culture was also articulated In Zhang Ailing's ''Half of Lifelong Romance''. "Patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" are the key words in the work: "Patriarchal chiefs system" indicates that the greatest authority and property would be passed to the first-born son (嫡长子) delivered by the eldest wife or a concubine while following the institution of polygamy in the Chinese imperial system. Under the circumstance, and the rest of the sons(庶子) would be deemed to be less noble than the eldest son. The hereditary king of the Zhou Dynasty was called the Son of Heaven, who was the political master of the world. And the throne and the position of the great lords would only be inherited by the eldest son of the eldest wife once the dominant character passed away. It is notable that the integrity and competence were not taken into account for selecting heads of all levels of power. In Half of Lifelong Romance, Shen Xiaotong(Shen Shijun's father) was of the higest rank of nobility in the Shen clan and his supremacy could be alloted to anyone at his disposal. A wife and a concubine of Shen Xiaotong were respectively described, one of them was lawfully wedded wife and the other one was given the support of concubinage. The male master of the story is the eldest son of lawful spouse, he was attempting to earn a tint of fortune in Shanghai. Therefore, it is described in the plot that when Shen Xiaotong was seriously ill, he urgently summoned Shen Shijun to return home, and because Shijun could be regarded as "嫡长子", he entrusted "reliance" to Shijun, which also highlights the clout of "patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" in Chinese culture. (Zhao 2012, 132)

'''2.2 Chen Ping(Sanmao)--Soul with the Wind'''

Sanmao, also known as Chen Ping, is a trailblazing writer in China. Her lifelong pursuit of freedom is the miracle of a unique life, the mighty rivers and vast landscapes she talked about in the books serve as the console for thousands of readers to escapism. The cultural elements defined by diversified Chinese traditions could also be identified in ''The Rainy Season Will Never Come''(《雨季不再来》), which includes her pure love and sincere attitude towards people. And the concept is in close alignment with the "universal love" of Mohism, which advocates the practice of love without distinctions despite the respective relationship and origins. Equal care for others, the quality of tolerant and inclusive mentality of Sanmao could always be found in her other articles. (Yu 2017, 33)

'''2.3 Lin Yihan--Fang Siqi, Paradise Lost hidden in Each Ripped Square Sheets'''

Lin Yihan, a Chinese female writer, inherits the writing style of Zhang Ailing and employs differentiated methods to render unusual sentiment. The inanimated language use framing individual trama boldly conceals agonizing excruciation, wind and rain leaves no trace but the massive edification. Her work ''Fang Siqi's First Love Paradise''(《房思琪的初恋乐园》) tells the story of a girl named Fang Siqi being seduced for a long time by Li Guohua who was a teacher of a private school. The work makes inquiries for women’s right of speech. It describes the female image fallen in line with the patriarchal culture in Taiwan, pointing out that the patriarchal culture is subtly disciplining women in the name of literature and education by its fabricated moral conventions. For example, the elder sister Yi Wen, though highly educated with enjoyment of intellectual pursuit, found her husband's family which was of the same descent as hers still forced her to bring them a son (in traditional Chinese thinking. Women are still fertility tools and believed to bore “promising” pregnancy with a definite son); The insult that Siqi received turned the traditional concept (even if it was not the victim's fault at all) into a piece of "rotten meat" (the crime of erosion was cleverly attributed to the victim). (Wang 2002, 4)

'''2.4 Li Bihua--Ghost(Unchained Empathy)'''

Li Bihua, a Chinese writer, treats challenging materials with grace and poignancy, luxuriating in her own eccentric wording, twisted plot, evocative emotions. Although the content of her work ''Dumplings''(《饺子》)is quirky and daring with novelettish feelings, it is a distinctive literary "step" to use the food of Hong Kong, Macao and Guangdong as the bait to "trick" the reader to the emotional climax. When the readers understand the truth, they are already trapped in it. Shrimp dumplings, egg tarts, marinated duck, Chinese bird's nest cake, these delicacies with Chinese regional characteristics symbolize not only the basis of the plot but also the carrier of culture. (Jia 2004, 103)

'''3. Summary'''

Despite only one different Chinese character("literature" stands for "文学" and "culture" refers to "文化"), "literature" and "culture" encapsulates the zeitgeist of different eras. Feminist criticism and theoretical discourse enlightenment in the scope of Chinese culture to varying degrees can be gleaned from the four female writers with their particularized narratives introduced in this article, which could facilitate related progress. Besides, we surely could witness the renewed transformation in the connotation of Chinese culture adapting to the ongoing advance of feminist literature. It could also be certified that the interpretation of female writers pursue gender liberation as well as equality and freedom. Winston Churchill once said, "A culture that does not accompany its strength may face cultural extinction." Perhaps culture itself does not have to incorporate into the traditional discourse. However, it could not be built upon the cornerstone of the innocent and blameless lives while there would be someone shouting "the unbearable lightness of being". (Lin 2004, 139)

'''Terms and Expressions:'''

''Dream of Genius'' 《天才梦》

''Half of Lifelong Romance'' 《半生缘》

May Fourth Movement 五四运动

Patriarchal clan system(the feudal clan system) 宗法制

Patriarchal chiefs system 嫡长子继承制

patriarchal culture 父权文化

the Son of Heaven 天子

concubine 妾；姨太太

''The Rainy Season Will Never Come'' 《雨季不再来》

Universal love 兼爱

Mohism 墨家思想

''Fang Siqi's First Love Paradise'' 《房思琪的初恋乐园》

''Dumplings'' (饺子》

Shrimp dumplings 虾饺

egg tarts 蛋挞

marinated duck 卤水鸭

Chinese bird’s nest cake 燕窝糕

'''Questions:'''

1. After reading this article, what's your personal view on the development of Chinese culture and women's literature?

2. Do you think Chinese female literature has a positive impact on breaking down the dregs of feudal culture(the negative effect not the positive ones)?

3. What do "patriarchal clan system" and "patriarchal chiefs system" have in common?

4. How would you rate each of the female writers featured in this article?

5. Do you have different thoughts on promoting Chinese culture through literary works? (creative measures are largely welcomes!)

'''Answers:'''

1. They could supplement each other with the parts of significance and they could contribute to the common development of each other.

2. Yes sure it is. As there exists the underlying need for women writers to foster pacesetters in terms of illuminating the harsh reality, we need to know what should be put in place once the obsolete ones face their time.

3. The two concepts share the same matrix of "the eldest male 'brought' by the legally married wife(also the eldest) could be rewarded with dominance.

4. No, I'm afraid I would not rate each of them as I'm not qualified to do that. So sorry.

5. Social platform, media, live-streaming, drama(the collision between the modern times and the past traditions).

'''References:'''

[1] Frevert, Ute. 2016. The History of Emotions [G]∥Lisa F. Barrett et. Al. Handbook of Emotions(4th ed.). New York /London: The Guilford Press, 49-65．

[2] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.

[3] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals [M]. Cambridge: CUP, 1999,

''Note: The references below are of actual Chinese version in the origins(the original Chinese references are given in the last part) and I translated them for your better appreciation. Thank you very much.''

[4] YN Jia. Where the soul drifts towards: a discussion on the fate of women in Li Bihua's novels [J]. ''Contemporary Literature Research,'' 2004, (03): 102-104.

[5] DY Lin. The literary situation of female discourse [J]. ''Southeast Academic,'' 2004,(01):132-140.

[6] YH Lin. Fang Siqi’s first love paradise. [M]. Beijing: Beijing United Publishing Co, Ltd, 2018.

[7] Liu Guangyu, Dong Ling. Evolution of female roles and Chinese women's Liberation: a cultural perspective of modern Chinese feminine literature [J]. ''Journal of Shandong Normal University (Social Science Edition)'', 2000, (02): 10-14.

[8] Sanmao. The rainy season will never come [M]. Beijing: Beijing October Art & Literature Publishing, 2009.

[9] Wang Bingjun, Wang Yan, Wang Min 'an, et al. Space, modernity and cultural memory [J]. ''Foreign Literature,'' 2006, (04): 76-87.

[10] Wang Ning. Cultural identity and Chinese Literary Critical Discourse [J]. ''Gansu Social Sciences,'' 2002, (01): 3-6.

[11] DQ Yu. Another work of Sanmao from the perspective of text narrative [J]. ''Chinese Research,'' 2017, (15): 33-34.

[12] AL Zhang. Half of lifelong romance [M]. Beijing: Beijing October Art & Literature Publishing, 2012.

[13] JY Zhao. The fading rose in the vanity world: the phenomenon of female alienation in the works of Fitzgerald and Zhang Ailing [J]. ''Literary Debate,'' 2012, (08): 131-134.

'''女性作家专题：张爱玲、陈平（三毛）、林奕含及李碧华'''

廖文垚

'''1.引言'''

文学作品与文化有着密不可分的关系，一方面，文学作品的本质在于其或通过特定的情节传递出文化特质，或使用语言符号作为载体呈现出人类在现代性变革中的复杂时空感知，而“现代性是一种关于时间的文化”，伴随着物理层面上时间轴的延长，空间场所的不断扩张，一种继生于存在体验、精神超脱的复杂织体与描述到的文化历史、宗教观念相有关联。另一方面，文化必会影响文学作品的撰写与发展，设置特定的“文化景观”，而影响文化世界的展开以及个人体验形式的回溯展望。以古贯今，中国女性文学历史渊源极深，发展长路漫漫，女性作家跃然而起，与男性作家一样，挥笔毫墨间，钻仰中华文化之渊秘，涣尔书陈底蕴之冰开。女性介入历史性书写，建构自身话语体系，能够体现出不同时期中国女性文学文本批评文化，更有适时女性于挣扎中寻找自我、追求新时代性别平等思潮文化的复杂要求，这也是中国文化的组成部分，而接下来，笔者会介绍四位女性作家以及其中的文化元素和内涵，进而研讨女性文学作品中彰显的中国文化要素。(Wang 2006, 78)

'''2.四位女作家介绍及涉及文化要素'''

具体内容详见下文。

'''2.1 张爱玲——“天才传奇梦”'''

张爱玲是20世纪中国最具影响力的女作家之一。而这一节将首要谈到“文化研究”与“文化身份”，后者依托后殖民理论析述，移用于前者中去（前者是一类理论话语），从文艺美学的层面来看，即为肯定研究主体“存在即合理”以及自身具备的美学价值；从文学研究的外延层面来看，是为语境式研究和文本式研究相结合的。“文化身份”诉诸包含文学和文化研究中的民族本质特征和带有民族印记的文化本质特征。该点在张爱玲的作品《半生缘》中亦有体现：彼时新思潮旧学识交织纷杂，封建意识盘踞不下，而西方思想已然侵染其中。故事的女主人翁——顾曼桢，其“文化身份”具有不确定性以及一定程度上的矛盾性。在思想上，顾曼桢经受“五四时代”精神洗礼，抗拒母亲自以为“义”的婚事（即与豫瑾——她姐姐的未成“初恋”同婚），坚守着“婚恋自由”“婚娶自主”的追求而选择沈世钧，在宗法人伦视角下传统母女关系的多重性表现中，该角色超越传统女儿形象建构；然而在后续的情节发展中，主人公的“文化身份”又显现出“矛盾”底色来，“自由”与“人伦”，是非“鱼与熊掌焉”？女主角毅然踏入与强奸犯的婚姻中，曲折妥协的“自戕”加深了悲惨的论调，“在人伦情感的掩护下,女儿对情感的追求就容易滑入宗法等级下的没有自我的深渊。张爱玲也正是借了这个人物，揭示了即使已有”德先生“”赛先生“旗帜高悬于青天之上，仍裹挟于传统宗法文化洪流中的女性文化发展的矛盾性。(Liu 2000, 12)

正如前文所述，作品的历史背景展现的是一个既无法摆脱虬扎良久的过往固有规制体系，又无法根彻地“胎生”出一套现代文明的社会体制的“光怪陆离”的时代；在张爱玲的《半生缘》这部作品中，传统的“宗法人伦”观念文化得以窥见。“宗法制”，“嫡长子继承制”则是“缘”中的关键词：“嫡长子继承制”是指古代统治者实行一夫多妻制，多妻中有一个正妻，即“嫡”，其子为嫡子；其他妻子为”庶“，其子为庶子。按照周制，最高统治者称为天子，统治天下的土地和臣民，继承王位的，也必须是嫡长子，至于贤良与否，并不作考究。在《半生缘》这部作品中，沈啸桐为权力的下发人，上位者；书中只写了两位地位相当的夫人——正房沈夫人以及“二房”“鼓楼那个”；故事的男主人翁是大房沈夫人的儿子，年纪是在社会上初闯荡着的。如此一来，在文中就有描述，在沈啸桐病重时，急召沈世钧返家，并正因世钧是正房所出——归属于“嫡长子”范畴，便将“倚靠”托给了世钧，这样的情节并也凸显出“嫡长子继承制”在文化中之根基久深来。(Zhao 2012, 132)

'''2.2 陈平（三毛）——“自由的灵魂”'''

三毛，又名陈平，中国著名女作家。她一生追求自由，是独特生命的奇迹；她笔下走过的万水千山，是以给万千读者聊以生命的慰藉。当然，在她的《雨季不再来》一书中，也能察觉到部分中华文化元素的体现，包括其博爱且真挚的思想情感，这与墨家思想中的“兼爱”不谋而合，后者倡导无差别地爱一切人，不分亲疏贵贱，平等地关爱他人（从三毛其他地作品里也能看到三毛宽容、包容地心态是时常存在着的）。(Yu 2017, 33)

'''2.3林奕含——“房思琪，拆开的每一个格子里都是失掉的乐园”'''

林奕含，中国女作家，文风承接“张派”，雕词论调不走寻常路，乖拗的文字外壳下是一层焦冷捻湿的伤痛，风雨虽无飘荡，却也是漫山遍野的今天和琳琅。她的作品《房思琪的初恋乐园》通过讲述少女房思琪被补习班教师李国华长期诱奸一事，叩问情节背后隐藏的话语权问题。小说描写了在台湾社会男权文化治下的女性群像,指出男权文化正以其编造的道德惯例、正以文学和教养的名义潜移默化地规训女性。例如，书中的伊纹姐姐，即使受过了高等教育，寻得的夫家也是一介清流，仍要逼迫着生贵子（中国传统思想，女人仍旧是生育工具，所承诺的只有大着的肚子和必须生下的男胎）；思琪受到的侮辱，给传统观念（即使完全不是受害者的错）下拧成了一坨烂肉（糜烂的罪孽被巧言令色地嫁祸给了受害者）。 (Wang 2002, 4)

'''2.4 李碧华——“人鬼情未了”'''

李碧华，中国作家，笔风辛辣，文力凄艳悲凉，情节诡谲丛生，鬼魅无影。她的作品《饺子》中虽内容诡丽阴冷，情感黏滞，但极有特色地将港澳及广东地区的食物作“诱引”，一步步将读者“骗”到情感高潮处，待醒悟已是浑然困宥于其中矣。虾饺、蛋挞、卤水鸭、燕窝糕，这些具有中国地区特色的美食，既成为了情节的依托，也作为了文化的载体。(Jia 2004, 103)

'''3.结语'''

“文学”与“文化”，虽只有一字之差，但都反映了时代下的精华。文中介绍的四位女作家，虽文风有所不同，但都不同程度地反映了中华文化范围内女性主义批评思潮与理论话语启蒙，而这一进程虽仍在行进之中，但也形成一定态势。当然，我们更能看到在语境变迭发展下，在女性主义文学发展下的中华文化内涵发生了新的变化，也能看到女性文人追求性别解放、争取平等自由的诠释。丘吉尔说过：“不伴随力量的文化，到明天将成为灭绝的文化。”，或许，文化不必在于传统话语之“重”，只是，不能再踩踏在无辜的血肉冤魂之上，高喊“生命不能承受之轻”。(Lin 2004, 139)

'''问答中文原文：'''

1.看完本文后，你对於中国文化及女性文学发展有什么样的看法吗？

2.你是否认为中国女性文学对破除封建文化糟粕具有积极影响？

3.“宗法制”和“嫡长子继承制”是什么意思？

4.给本文中涉及到的女性作家打分的话，你每个会打几分？

5.对于以文学作品宣扬中华文化，你是否有不一样的见解？（可以谈谈具体措施）

1. 他们相互补充，并为彼此的共同发展做出贡献。

2. 当然。由于需要女性作家先行揭示（以文笔）残酷现实，我们必须破旧立新。

3. 这两个概念相同之处就是大房的长子一般能获得统治地位。

4. 不好意思，我觉得我还达不到能给她们打分的水平。

5. 社交平台、媒体、直播、戏剧（现代与过去传统的碰撞）。

'''参考文献：'''

[1]贾颖妮. 魂归何处——论李碧华小说对女性命运的探讨[J]. 当代文坛, 2004, (03): 102-104.

[2]林丹娅.女性话语的文学境遇[J].东南学术,2004,(01):132-140.

[3]林奕含. 房思琪的初恋乐园[M]. 北京: 北京联合出版公司, 2018.

[4]刘光宇,冬玲. 女性角色演变与中国妇女解放——中国现代女性文学的文化透视[J]. 山东师大学报(社会科学版), 2000, (02): 10-14.

[5] 三毛. 雨季不再来[M]. 北京: 北京十月文艺出版社, 2009.

[6] 王炳钧,王炎,汪民安,等. 空间、现代性与文化记忆[J]. 外国文学, 2006, (04): 76-87.

[7] 王宁. 文化身份与中国文学批评话语的建构[J]. 甘肃社会科学, 2002, (01): 3-6.

[8] 喻徳琴. 文本叙事角度下的《梦里花落知多少》[J]. 语文建设, 2017, (15): 33-34.

[9] 张爱玲. 半生缘[M]. 北京: 北京十月文艺出版社, 2012.

[10] 赵劲鹰. 浮华世界凋零的玫瑰——菲茨杰拉德和张爱玲作品中的女性异化现象[J]. 文艺争鸣, 2012, (08): 131-134.

[11] Frevert, Ute. 2016. The History of Emotions [G]∥Lisa F. Barrett et. Al. Handbook of Emotions(4th ed.). New York /London: The Guilford Press, 49-65．

[12] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.

[13] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals [M]. Cambridge: CUP, 1999,

I hereby guarantee that I have not used the help of AI to write my final paper in this course.

User:Liao Wenyao

2024-12-31T05:04:36Z

Liao Wenyao:

My name is Liao Wenyao and I love eating fruits. I used to be a student and I am still a student for now. I major in English interpretation now and the official name for my master degree is Master of Translation and Interpretation. The college that I get enrolled in is Hunan Normal University. I have no pets and am not allergic to anything. I love playing badminton but I haven’t played it for quite a loooooong time. I might have obsessive-compulsive disorder and we all wish we can make great academic achievement and may the world in peace. See it, say it, sorted.

'''''Tips: From November 10th to December 5th, I learned the lyrics of a song by one line per day, and then I asked AI for the grammar, vocabularies, translation and the pronunciation of them.'''''

'''2024.11.10''' I learned with AI for "J'ai touché l'enfance de mes doigts encore feutrés（中文：我用湿漉漉的手指触摸了童年）"

'''2024.11.11''' I learned with AI for "Ressassé cette histoire comme si je l'avais recontrée（中文：重讲这个故事，就好像我又碰到她了一样）"

'''2024.11.12''' I learned with the help of AI for "La vraie belle nouveauté c'est celle qui ne vieillit pas（中文：真正美丽的新奇玩意儿永不过时）"

'''2024.11.13''' I learned with the help of AI for "Celle qui nous garde les ciels pastels l'orage quand il fait froid（中文：当凛冽的暴风雨来临时，让我们保留柔软的天空）"

'''2024.11.14''' I learned with the help of AI for "Je laisse aux autres les demain（中文：把明天留给别人）"

'''2024.11.15''' I learned with the help of AI for "Moi je prends que les maintenant（中文：我只想珍惜当下）"

'''2024.11.16''' I learned with the help of AI for "Si c'est pou penser la fin（中文：若要考虑未来的结局）"

'''2024.11.17''' I learned with the help of AI for "Compte sur mes rêves d'enfant（中文：那就让我仰赖童年的梦想）"

'''2024.11.18''' I learned with the help of AI for "Petite je fuis le tempts déja peur des convenances（中文：小时候，时间给我逃了脱，已然使我害怕礼节）"

'''2024.11.19''' I learned with the help of AI for "Et la vraie étoffe des gens c'est fou tout ce qui'ils pensent（中文：而人们所有的真实，他们想的一切都是疯狂的）"

'''2024.11.20''' I learned through AI for "C'est triste toute cette méfiance faudrait suivre l'aivon en papier（中文：可悲啊，所有这些猜疑，应该跟着纸飞机走）"

'''2024.11.21''' I learned through AI for "Hurler pour s'envoler surtout quand on pense au passé（中文：尖叫着飞翔着，尤其是当你想回到过去时）"

'''2024.11.22''' I learned through AI for "J'regrette mon adolescence（中文：我后悔我的青春期）"

'''2024.11.23''' I learned through AI for "Et pourtant c'est pas fini（中文：但它还没有结束）"

'''2024.11.24''' I learned through AI for "Quand t'es petit y'a la méfiance（中文：当你还小，就会对别人猜猜点点的)"

'''2024.11.25''' I learned through AI for "Puis après vient le mépris（中文：然后又轻蔑）"

'''2024.11.26''' I learned through AI for "Y'a des jours ou ca va mal（中文：有时候事情总不对）"

'''2024.11.27''' I learned through AI for "C'est que t'oublies quand ca va bien（中文：只要你什么时候好就忘了）"

'''2024.11.28''' I learned thorugh AI for "Les adultes ils crient ils ralent（中文：大人们又叫又哭的）”

'''2024.11.29''' I learned through AI for “Disent des choses qui servant à rien （中文：说些没用的话）”

'''2024.11.30''' I learned through Ai for “Tu passe ta vie dans le passé（中文：人的一生都在进行过去时）

'''2024.12.1''' I learned the “Et pourtant c'est pas si beau（中文：但并不总那么美丽）”

'''2024.12.2''' I learned the “Tu te souviens des jours usés ?（中文：你还记得过去的日子吗？）” with AI

'''2024.12.3''' I learned the “Des mois de mai, des batailles d'eau（中文：五月的水战）” with AI

'''2024.12.4''' I learned the “Faut s'y faire t'es juste grand（中文：你得习惯，只不过是个子比别人高了一些而已）”and “Y'en aura pleins tu verras（中文：会有很多你能看到的）” with AI

'''2024.12.5''' I learned the “Des belles choses, des bons moments（中文：美好的事物啊美好的时光）” and “Des belles choses, des bons moments（中文：当一切结束，你又会后悔）” with AI

'''Note: I decide to learn something else~''''I would like to learn a French poem with the magical assistance of A''I(the poem is called Pour Demian)''.''

'''2024.12.6''' I learned the "Vous que le printemps opéra(奇迹春天唾手而成魔术)" with AI;

'''2024.12.7''' I learned the "Miracles ponctuez ma stance(请替我的诗章断句分行)" with AI;

'''2024.12.8''' I learned the "Mon esprit épris du départz(我的迷恋于出走的思想)" with AI;

'''2024.12.9''' I learned the "Dans un rayon soudain se perd(陡然间消失于一线光亮)" with AI;

'''2024.12.10''' I learned the "Perpétué par la cadence(又由光的节奏频频延续)" with AI;

'''2024.12.11''' I learned the "La Seine au soleil d'avril danse(塞纳河荡漾于四月艳阳)" with AI;

'''2024.12.12''' I learned the "Comme Cécile au premier bal(像塞西尔首次翩然领舞)" with AI;

'''2024.12.13''' I learned the "Ou plutôt roule des pépites(又似卷拂起细密的金砾)" with AI;

'''2024.12.14''' I learned the "Vers les ponts de pierre ou les cribles(涌向那道道石桥或筛网)" with AI;

'''2024.12.15''' I learned the "Charme sûr La ville est le val(耐看的幻美城池化溪谷)" with AI;

'''2024.12.16''' With the help of AI, I learned the "Les quais gais comme en carnaval(左右堤岸节日般狂欢)" .

'''2024.12.17''' With the help of AI, I learned the "Vont au devant de la lumière(一起拥戴那光明远去)".

'''2024.12.18''' With the help of AI, I learned the "Elle visite les palais(她驾临的重重宫殿)".

'''2024.12.19''' With the help of AI, I learned the "Et les roses du jour aux vitres(和窗扇掩映的盛开玫瑰)".

'''Female Writers: Zhang Ailing, Chen Ping(Sanmao), Lin Yihan and Li Bihua'''

Written by Liao Wenyao(Rose)

'''1. Introduction'''

Literature is closely related to culture. In the first place, the nature of literary works lies in its capacity to convey the unique essence of certain culture through specific plots. It could also capture the complexities of human experiences shaped by transcendental concepts of time and space in the context of modernity transformation with the usage of language as the vehicle. "Modernity is a culture over time", as the timeline lengthens and the space witnesses continuous dilation from the sheer perspective of physics, an intricate self inherited from the previous existence and spiritual detachment becomes intertwined with the culture as well as history and religious notions that have been portrayed. On the other side of the coin, culture always has a profound impact on the production and development of literary works. The cultural setting would often influence the expansion of the cultural world and the retrospective prospect of individual episodes. From ancient civilizations to modern times, the female literary tradition in China has deep historical roots. Female literature that heralds women's efforts to strive for deserved status notes slow progress and the state of fragility. And female writers, as other male writers, delve into the most speculative and enigmatic appreciation of Chinese culture, unravel evolving understanding of human nature. Therefore, women's engagement in literature production and their own discourse system could reflect female literary criticism culture in different periods. Those endeavors mirrors the impenetrable requirements of women's pursuit of self-discovery and gender equality that has been regarded as the ideological trend culture in the given era. The rumination also served as an integral part of Chinese culture. In the following text, four female writers and the involved cultural components and connotations will be introduced. The discussion of the elements of Chinese culture would be manifested in female literary works. (Wang 2006, 78)

'''2. Four Female Writers and the Involved Chinese Culture'''

The specifics will be given below.

'''2.1 Zhang Ailing(张爱玲)--A Dream of Genius and Legend(''Dream of Genius''(《天才梦》) is also one of her literary work)'''

Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)

As what has been mentioned above, the historical background of the work demonstrates a "grotesque" era in which the endogenous regulatory system that has been existed from the past hundred years engaged deeply with aspects of the social mobility. And the entrenched institutions failed to promptly "give birth to" a modern as well as civilized social system across the board. The traditional "patriarchal clan" concept culture was also articulated In Zhang Ailing's ''Half of Lifelong Romance''. "Patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" are the key words in the work: "Patriarchal chiefs system" indicates that the greatest authority and property would be passed to the first-born son (嫡长子) delivered by the eldest wife or a concubine while following the institution of polygamy in the Chinese imperial system. Under the circumstance, and the rest of the sons(庶子) would be deemed to be less noble than the eldest son. The hereditary king of the Zhou Dynasty was called the Son of Heaven, who was the political master of the world. And the throne and the position of the great lords would only be inherited by the eldest son of the eldest wife once the dominant character passed away. It is notable that the integrity and competence were not taken into account for selecting heads of all levels of power. In Half of Lifelong Romance, Shen Xiaotong(Shen Shijun's father) was of the higest rank of nobility in the Shen clan and his supremacy could be alloted to anyone at his disposal. A wife and a concubine of Shen Xiaotong were respectively described, one of them was lawfully wedded wife and the other one was given the support of concubinage. The male master of the story is the eldest son of lawful spouse, he was attempting to earn a tint of fortune in Shanghai. Therefore, it is described in the plot that when Shen Xiaotong was seriously ill, he urgently summoned Shen Shijun to return home, and because Shijun could be regarded as "嫡长子", he entrusted "reliance" to Shijun, which also highlights the clout of "patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" in Chinese culture. (Zhao 2012, 132)

'''2.2 Chen Ping(Sanmao)--Soul with the Wind'''

Sanmao, also known as Chen Ping, is a trailblazing writer in China. Her lifelong pursuit of freedom is the miracle of a unique life, the mighty rivers and vast landscapes she talked about in the books serve as the console for thousands of readers to escapism. The cultural elements defined by diversified Chinese traditions could also be identified in ''The Rainy Season Will Never Come''(《雨季不再来》), which includes her pure love and sincere attitude towards people. And the concept is in close alignment with the "universal love" of Mohism, which advocates the practice of love without distinctions despite the respective relationship and origins. Equal care for others, the quality of tolerant and inclusive mentality of Sanmao could always be found in her other articles. (Yu 2017, 33)

'''2.3 Lin Yihan--Fang Siqi, Paradise Lost hidden in Each Ripped Square Sheets'''

Lin Yihan, a Chinese female writer, inherits the writing style of Zhang Ailing and employs differentiated methods to render unusual sentiment. The inanimated language use framing individual trama boldly conceals agonizing excruciation, wind and rain leaves no trace but the massive edification. Her work ''Fang Siqi's First Love Paradise''(《房思琪的初恋乐园》) tells the story of a girl named Fang Siqi being seduced for a long time by Li Guohua who was a teacher of a private school. The work makes inquiries for women’s right of speech. It describes the female image fallen in line with the patriarchal culture in Taiwan, pointing out that the patriarchal culture is subtly disciplining women in the name of literature and education by its fabricated moral conventions. For example, the elder sister Yi Wen, though highly educated with enjoyment of intellectual pursuit, found her husband's family which was of the same descent as hers still forced her to bring them a son (in traditional Chinese thinking. Women are still fertility tools and believed to bore “promising” pregnancy with a definite son); The insult that Siqi received turned the traditional concept (even if it was not the victim's fault at all) into a piece of "rotten meat" (the crime of erosion was cleverly attributed to the victim). (Wang 2002, 4)

'''2.4 Li Bihua--Ghost(Unchained Empathy)'''

Li Bihua, a Chinese writer, treats challenging materials with grace and poignancy, luxuriating in her own eccentric wording, twisted plot, evocative emotions. Although the content of her work ''Dumplings''(《饺子》)is quirky and daring with novelettish feelings, it is a distinctive literary "step" to use the food of Hong Kong, Macao and Guangdong as the bait to "trick" the reader to the emotional climax. When the readers understand the truth, they are already trapped in it. Shrimp dumplings, egg tarts, marinated duck, Chinese bird's nest cake, these delicacies with Chinese regional characteristics symbolize not only the basis of the plot but also the carrier of culture. (Jia 2004, 103)

'''3. Summary'''

Despite only one different Chinese character("literature" stands for "文学" and "culture" refers to "文化"), "literature" and "culture" encapsulates the zeitgeist of different eras. Feminist criticism and theoretical discourse enlightenment in the scope of Chinese culture to varying degrees can be gleaned from the four female writers with their particularized narratives introduced in this article, which could facilitate related progress. Besides, we surely could witness the renewed transformation in the connotation of Chinese culture adapting to the ongoing advance of feminist literature. It could also be certified that the interpretation of female writers pursue gender liberation as well as equality and freedom. Winston Churchill once said, "A culture that does not accompany its strength may face cultural extinction." Perhaps culture itself does not have to incorporate into the traditional discourse. However, it could not be built upon the cornerstone of the innocent and blameless lives while there would be someone shouting "the unbearable lightness of being". (Lin 2004, 139)

'''Terms and Expressions:'''

''Dream of Genius'' 《天才梦》

''Half of Lifelong Romance'' 《半生缘》

May Fourth Movement 五四运动

Patriarchal clan system(the feudal clan system) 宗法制

Patriarchal chiefs system 嫡长子继承制

patriarchal culture 父权文化

the Son of Heaven 天子

concubine 妾；姨太太

''The Rainy Season Will Never Come'' 《雨季不再来》

Universal love 兼爱

Mohism 墨家思想

''Fang Siqi's First Love Paradise'' 《房思琪的初恋乐园》

''Dumplings'' (饺子》

Shrimp dumplings 虾饺

egg tarts 蛋挞

marinated duck 卤水鸭

Chinese bird’s nest cake 燕窝糕

'''Questions:'''

1. After reading this article, what's your personal view on the development of Chinese culture and women's literature?

2. Do you think Chinese female literature has a positive impact on breaking down the dregs of feudal culture(the negative effect not the positive ones)?

3. What do "patriarchal clan system" and "patriarchal chiefs system" have in common?

4. How would you rate each of the female writers featured in this article?

5. Do you have different thoughts on promoting Chinese culture through literary works? (creative measures are largely welcomes!)

'''Answers:'''

1. They could supplement each other with the parts of significance and they could contribute to the common development of each other.

2. Yes sure it is. As there exists the underlying need for women writers to foster pacesetters in terms of illuminating the harsh reality, we need to know what should be put in place once the obsolete ones face their time.

3. The two concepts share the same matrix of "the eldest male 'brought' by the legally married wife(also the eldest) could be rewarded with dominance.

4. No, I'm afraid I would not rate each of them as I'm not qualified to do that. So sorry.

5. Social platform, media, live-streaming, drama(the collision between the modern times and the past traditions).

'''References:'''

'''女性作家专题：张爱玲、陈平（三毛）、林奕含及李碧华'''

廖文垚

'''1.引言'''

文学作品与文化有着密不可分的关系，一方面，文学作品的本质在于其或通过特定的情节传递出文化特质，或使用语言符号作为载体呈现出人类在现代性变革中的复杂时空感知，而“现代性是一种关于时间的文化”，伴随着物理层面上时间轴的延长，空间场所的不断扩张，一种继生于存在体验、精神超脱的复杂织体与描述到的文化历史、宗教观念相有关联。另一方面，文化必会影响文学作品的撰写与发展，设置特定的“文化景观”，而影响文化世界的展开以及个人体验形式的回溯展望。以古贯今，中国女性文学历史渊源极深，发展长路漫漫，女性作家跃然而起，与男性作家一样，挥笔毫墨间，钻仰中华文化之渊秘，涣尔书陈底蕴之冰开。女性介入历史性书写，建构自身话语体系，能够体现出不同时期中国女性文学文本批评文化，更有适时女性于挣扎中寻找自我、追求新时代性别平等思潮文化的复杂要求，这也是中国文化的组成部分，而接下来，笔者会介绍四位女性作家以及其中的文化元素和内涵，进而研讨女性文学作品中彰显的中国文化要素。(Wang 2006, 78)

'''2.四位女作家介绍及涉及文化要素'''

具体内容详见下文。

'''2.1 张爱玲——“天才传奇梦”'''

张爱玲是20世纪中国最具影响力的女作家之一。而这一节将首要谈到“文化研究”与“文化身份”，后者依托后殖民理论析述，移用于前者中去（前者是一类理论话语），从文艺美学的层面来看，即为肯定研究主体“存在即合理”以及自身具备的美学价值；从文学研究的外延层面来看，是为语境式研究和文本式研究相结合的。“文化身份”诉诸包含文学和文化研究中的民族本质特征和带有民族印记的文化本质特征。该点在张爱玲的作品《半生缘》中亦有体现：彼时新思潮旧学识交织纷杂，封建意识盘踞不下，而西方思想已然侵染其中。故事的女主人翁——顾曼桢，其“文化身份”具有不确定性以及一定程度上的矛盾性。在思想上，顾曼桢经受“五四时代”精神洗礼，抗拒母亲自以为“义”的婚事（即与豫瑾——她姐姐的未成“初恋”同婚），坚守着“婚恋自由”“婚娶自主”的追求而选择沈世钧，在宗法人伦视角下传统母女关系的多重性表现中，该角色超越传统女儿形象建构；然而在后续的情节发展中，主人公的“文化身份”又显现出“矛盾”底色来，“自由”与“人伦”，是非“鱼与熊掌焉”？女主角毅然踏入与强奸犯的婚姻中，曲折妥协的“自戕”加深了悲惨的论调，“在人伦情感的掩护下,女儿对情感的追求就容易滑入宗法等级下的没有自我的深渊。张爱玲也正是借了这个人物，揭示了即使已有”德先生“”赛先生“旗帜高悬于青天之上，仍裹挟于传统宗法文化洪流中的女性文化发展的矛盾性。(Liu 2000, 12)

正如前文所述，作品的历史背景展现的是一个既无法摆脱虬扎良久的过往固有规制体系，又无法根彻地“胎生”出一套现代文明的社会体制的“光怪陆离”的时代；在张爱玲的《半生缘》这部作品中，传统的“宗法人伦”观念文化得以窥见。“宗法制”，“嫡长子继承制”则是“缘”中的关键词：“嫡长子继承制”是指古代统治者实行一夫多妻制，多妻中有一个正妻，即“嫡”，其子为嫡子；其他妻子为”庶“，其子为庶子。按照周制，最高统治者称为天子，统治天下的土地和臣民，继承王位的，也必须是嫡长子，至于贤良与否，并不作考究。在《半生缘》这部作品中，沈啸桐为权力的下发人，上位者；书中只写了两位地位相当的夫人——正房沈夫人以及“二房”“鼓楼那个”；故事的男主人翁是大房沈夫人的儿子，年纪是在社会上初闯荡着的。如此一来，在文中就有描述，在沈啸桐病重时，急召沈世钧返家，并正因世钧是正房所出——归属于“嫡长子”范畴，便将“倚靠”托给了世钧，这样的情节并也凸显出“嫡长子继承制”在文化中之根基久深来。(Zhao 2012, 132)

'''2.2 陈平（三毛）——“自由的灵魂”'''

三毛，又名陈平，中国著名女作家。她一生追求自由，是独特生命的奇迹；她笔下走过的万水千山，是以给万千读者聊以生命的慰藉。当然，在她的《雨季不再来》一书中，也能察觉到部分中华文化元素的体现，包括其博爱且真挚的思想情感，这与墨家思想中的“兼爱”不谋而合，后者倡导无差别地爱一切人，不分亲疏贵贱，平等地关爱他人（从三毛其他地作品里也能看到三毛宽容、包容地心态是时常存在着的）。(Yu 2017, 33)

'''2.3林奕含——“房思琪，拆开的每一个格子里都是失掉的乐园”'''

林奕含，中国女作家，文风承接“张派”，雕词论调不走寻常路，乖拗的文字外壳下是一层焦冷捻湿的伤痛，风雨虽无飘荡，却也是漫山遍野的今天和琳琅。她的作品《房思琪的初恋乐园》通过讲述少女房思琪被补习班教师李国华长期诱奸一事，叩问情节背后隐藏的话语权问题。小说描写了在台湾社会男权文化治下的女性群像,指出男权文化正以其编造的道德惯例、正以文学和教养的名义潜移默化地规训女性。例如，书中的伊纹姐姐，即使受过了高等教育，寻得的夫家也是一介清流，仍要逼迫着生贵子（中国传统思想，女人仍旧是生育工具，所承诺的只有大着的肚子和必须生下的男胎）；思琪受到的侮辱，给传统观念（即使完全不是受害者的错）下拧成了一坨烂肉（糜烂的罪孽被巧言令色地嫁祸给了受害者）。 (Wang 2002, 4)

'''2.4 李碧华——“人鬼情未了”'''

李碧华，中国作家，笔风辛辣，文力凄艳悲凉，情节诡谲丛生，鬼魅无影。她的作品《饺子》中虽内容诡丽阴冷，情感黏滞，但极有特色地将港澳及广东地区的食物作“诱引”，一步步将读者“骗”到情感高潮处，待醒悟已是浑然困宥于其中矣。虾饺、蛋挞、卤水鸭、燕窝糕，这些具有中国地区特色的美食，既成为了情节的依托，也作为了文化的载体。(Jia 2004, 103)

'''3.结语'''

“文学”与“文化”，虽只有一字之差，但都反映了时代下的精华。文中介绍的四位女作家，虽文风有所不同，但都不同程度地反映了中华文化范围内女性主义批评思潮与理论话语启蒙，而这一进程虽仍在行进之中，但也形成一定态势。当然，我们更能看到在语境变迭发展下，在女性主义文学发展下的中华文化内涵发生了新的变化，也能看到女性文人追求性别解放、争取平等自由的诠释。丘吉尔说过：“不伴随力量的文化，到明天将成为灭绝的文化。”，或许，文化不必在于传统话语之“重”，只是，不能再踩踏在无辜的血肉冤魂之上，高喊“生命不能承受之轻”。(Lin 2004, 139)

'''问答中文原文：'''

1.看完本文后，你对於中国文化及女性文学发展有什么样的看法吗？

2.你是否认为中国女性文学对破除封建文化糟粕具有积极影响？

3.“宗法制”和“嫡长子继承制”是什么意思？

4.给本文中涉及到的女性作家打分的话，你每个会打几分？

5.对于以文学作品宣扬中华文化，你是否有不一样的见解？（可以谈谈具体措施）

1. 他们相互补充，并为彼此的共同发展做出贡献。

2. 当然。由于需要女性作家先行揭示（以文笔）残酷现实，我们必须破旧立新。

3. 这两个概念相同之处就是大房的长子一般能获得统治地位。

4. 不好意思，我觉得我还达不到能给她们打分的水平。

5. 社交平台、媒体、直播、戏剧（现代与过去传统的碰撞）。

'''参考文献：'''
[1]贾颖妮. 魂归何处——论李碧华小说对女性命运的探讨[J]. 当代文坛, 2004, (03): 102-104.

[2]林丹娅.女性话语的文学境遇[J].东南学术,2004,(01):132-140.

[3]林奕含. 房思琪的初恋乐园[M]. 北京: 北京联合出版公司, 2018.

[4]刘光宇,冬玲. 女性角色演变与中国妇女解放——中国现代女性文学的文化透视[J]. 山东师大学报(社会科学版), 2000, (02): 10-14.

[5] 三毛. 雨季不再来[M]. 北京: 北京十月文艺出版社, 2009.

[6] 王炳钧,王炎,汪民安,等. 空间、现代性与文化记忆[J]. 外国文学, 2006, (04): 76-87.

[7] 王宁. 文化身份与中国文学批评话语的建构[J]. 甘肃社会科学, 2002, (01): 3-6.

[8] 喻徳琴. 文本叙事角度下的《梦里花落知多少》[J]. 语文建设, 2017, (15): 33-34.

[9] 张爱玲. 半生缘[M]. 北京: 北京十月文艺出版社, 2012.

[10] 赵劲鹰. 浮华世界凋零的玫瑰——菲茨杰拉德和张爱玲作品中的女性异化现象[J]. 文艺争鸣, 2012, (08): 131-134.

[11] Frevert, Ute. 2016. The History of Emotions [G]∥Lisa F. Barrett et. Al. Handbook of Emotions(4th ed.). New York /London: The Guilford Press, 49-65．

[12] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.

[13] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals[M]. Cambridge: CUP, 1999,

I hereby guarantee that I have not used the help of AI to write my final paper in this course.

User:Liao Wenyao

2024-12-31T05:03:38Z

Liao Wenyao:

My name is Liao Wenyao and I love eating fruits. I used to be a student and I am still a student for now. I major in English interpretation now and the official name for my master degree is Master of Translation and Interpretation. The college that I get enrolled in is Hunan Normal University. I have no pets and am not allergic to anything. I love playing badminton but I haven’t played it for quite a loooooong time. I might have obsessive-compulsive disorder and we all wish we can make great academic achievement and may the world in peace. See it, say it, sorted.

'''''Tips: From November 10th to December 5th, I learned the lyrics of a song by one line per day, and then I asked AI for the grammar, vocabularies, translation and the pronunciation of them.'''''

'''2024.11.10''' I learned with AI for "J'ai touché l'enfance de mes doigts encore feutrés（中文：我用湿漉漉的手指触摸了童年）"

'''2024.11.11''' I learned with AI for "Ressassé cette histoire comme si je l'avais recontrée（中文：重讲这个故事，就好像我又碰到她了一样）"

'''2024.11.12''' I learned with the help of AI for "La vraie belle nouveauté c'est celle qui ne vieillit pas（中文：真正美丽的新奇玩意儿永不过时）"

'''2024.11.13''' I learned with the help of AI for "Celle qui nous garde les ciels pastels l'orage quand il fait froid（中文：当凛冽的暴风雨来临时，让我们保留柔软的天空）"

'''2024.11.14''' I learned with the help of AI for "Je laisse aux autres les demain（中文：把明天留给别人）"

'''2024.11.15''' I learned with the help of AI for "Moi je prends que les maintenant（中文：我只想珍惜当下）"

'''2024.11.16''' I learned with the help of AI for "Si c'est pou penser la fin（中文：若要考虑未来的结局）"

'''2024.11.17''' I learned with the help of AI for "Compte sur mes rêves d'enfant（中文：那就让我仰赖童年的梦想）"

'''2024.11.18''' I learned with the help of AI for "Petite je fuis le tempts déja peur des convenances（中文：小时候，时间给我逃了脱，已然使我害怕礼节）"

'''2024.11.19''' I learned with the help of AI for "Et la vraie étoffe des gens c'est fou tout ce qui'ils pensent（中文：而人们所有的真实，他们想的一切都是疯狂的）"

'''2024.11.20''' I learned through AI for "C'est triste toute cette méfiance faudrait suivre l'aivon en papier（中文：可悲啊，所有这些猜疑，应该跟着纸飞机走）"

'''2024.11.21''' I learned through AI for "Hurler pour s'envoler surtout quand on pense au passé（中文：尖叫着飞翔着，尤其是当你想回到过去时）"

'''2024.11.22''' I learned through AI for "J'regrette mon adolescence（中文：我后悔我的青春期）"

'''2024.11.23''' I learned through AI for "Et pourtant c'est pas fini（中文：但它还没有结束）"

'''2024.11.24''' I learned through AI for "Quand t'es petit y'a la méfiance（中文：当你还小，就会对别人猜猜点点的)"

'''2024.11.25''' I learned through AI for "Puis après vient le mépris（中文：然后又轻蔑）"

'''2024.11.26''' I learned through AI for "Y'a des jours ou ca va mal（中文：有时候事情总不对）"

'''2024.11.27''' I learned through AI for "C'est que t'oublies quand ca va bien（中文：只要你什么时候好就忘了）"

'''2024.11.28''' I learned thorugh AI for "Les adultes ils crient ils ralent（中文：大人们又叫又哭的）”

'''2024.11.29''' I learned through AI for “Disent des choses qui servant à rien （中文：说些没用的话）”

'''2024.11.30''' I learned through Ai for “Tu passe ta vie dans le passé（中文：人的一生都在进行过去时）

'''2024.12.1''' I learned the “Et pourtant c'est pas si beau（中文：但并不总那么美丽）”

'''2024.12.2''' I learned the “Tu te souviens des jours usés ?（中文：你还记得过去的日子吗？）” with AI

'''2024.12.3''' I learned the “Des mois de mai, des batailles d'eau（中文：五月的水战）” with AI

'''2024.12.4''' I learned the “Faut s'y faire t'es juste grand（中文：你得习惯，只不过是个子比别人高了一些而已）”and “Y'en aura pleins tu verras（中文：会有很多你能看到的）” with AI

'''2024.12.5''' I learned the “Des belles choses, des bons moments（中文：美好的事物啊美好的时光）” and “Des belles choses, des bons moments（中文：当一切结束，你又会后悔）” with AI

'''Note: I decide to learn something else~''''I would like to learn a French poem with the magical assistance of A''I(the poem is called Pour Demian)''.''

'''2024.12.6''' I learned the "Vous que le printemps opéra(奇迹春天唾手而成魔术)" with AI;

'''2024.12.7''' I learned the "Miracles ponctuez ma stance(请替我的诗章断句分行)" with AI;

'''2024.12.8''' I learned the "Mon esprit épris du départz(我的迷恋于出走的思想)" with AI;

'''2024.12.9''' I learned the "Dans un rayon soudain se perd(陡然间消失于一线光亮)" with AI;

'''2024.12.10''' I learned the "Perpétué par la cadence(又由光的节奏频频延续)" with AI;

'''2024.12.11''' I learned the "La Seine au soleil d'avril danse(塞纳河荡漾于四月艳阳)" with AI;

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'''Female Writers: Zhang Ailing, Chen Ping(Sanmao), Lin Yihan and Li Bihua'''

Written by Liao Wenyao(Rose)

'''1. Introduction'''

Literature is closely related to culture. In the first place, the nature of literary works lies in its capacity to convey the unique essence of certain culture through specific plots. It could also capture the complexities of human experiences shaped by transcendental concepts of time and space in the context of modernity transformation with the usage of language as the vehicle. "Modernity is a culture over time", as the timeline lengthens and the space witnesses continuous dilation from the sheer perspective of physics, an intricate self inherited from the previous existence and spiritual detachment becomes intertwined with the culture as well as history and religious notions that have been portrayed. On the other side of the coin, culture always has a profound impact on the production and development of literary works. The cultural setting would often influence the expansion of the cultural world and the retrospective prospect of individual episodes. From ancient civilizations to modern times, the female literary tradition in China has deep historical roots. Female literature that heralds women's efforts to strive for deserved status notes slow progress and the state of fragility. And female writers, as other male writers, delve into the most speculative and enigmatic appreciation of Chinese culture, unravel evolving understanding of human nature. Therefore, women's engagement in literature production and their own discourse system could reflect female literary criticism culture in different periods. Those endeavors mirrors the impenetrable requirements of women's pursuit of self-discovery and gender equality that has been regarded as the ideological trend culture in the given era. The rumination also served as an integral part of Chinese culture. In the following text, four female writers and the involved cultural components and connotations will be introduced. The discussion of the elements of Chinese culture would be manifested in female literary works. (Wang 2006, 78)

'''2. Four Female Writers and the Involved Chinese Culture'''

The specifics will be given below.

'''2.1 Zhang Ailing(张爱玲)--A Dream of Genius and Legend(''Dream of Genius''(《天才梦》) is also one of her literary work)'''

Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)

As what has been mentioned above, the historical background of the work demonstrates a "grotesque" era in which the endogenous regulatory system that has been existed from the past hundred years engaged deeply with aspects of the social mobility. And the entrenched institutions failed to promptly "give birth to" a modern as well as civilized social system across the board. The traditional "patriarchal clan" concept culture was also articulated In Zhang Ailing's ''Half of Lifelong Romance''. "Patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" are the key words in the work: "Patriarchal chiefs system" indicates that the greatest authority and property would be passed to the first-born son (嫡长子) delivered by the eldest wife or a concubine while following the institution of polygamy in the Chinese imperial system. Under the circumstance, and the rest of the sons(庶子) would be deemed to be less noble than the eldest son. The hereditary king of the Zhou Dynasty was called the Son of Heaven, who was the political master of the world. And the throne and the position of the great lords would only be inherited by the eldest son of the eldest wife once the dominant character passed away. It is notable that the integrity and competence were not taken into account for selecting heads of all levels of power. In Half of Lifelong Romance, Shen Xiaotong(Shen Shijun's father) was of the higest rank of nobility in the Shen clan and his supremacy could be alloted to anyone at his disposal. A wife and a concubine of Shen Xiaotong were respectively described, one of them was lawfully wedded wife and the other one was given the support of concubinage. The male master of the story is the eldest son of lawful spouse, he was attempting to earn a tint of fortune in Shanghai. Therefore, it is described in the plot that when Shen Xiaotong was seriously ill, he urgently summoned Shen Shijun to return home, and because Shijun could be regarded as "嫡长子", he entrusted "reliance" to Shijun, which also highlights the clout of "patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" in Chinese culture. (Zhao 2012, 132)

'''2.2 Chen Ping(Sanmao)--Soul with the Wind'''

Sanmao, also known as Chen Ping, is a trailblazing writer in China. Her lifelong pursuit of freedom is the miracle of a unique life, the mighty rivers and vast landscapes she talked about in the books serve as the console for thousands of readers to escapism. The cultural elements defined by diversified Chinese traditions could also be identified in ''The Rainy Season Will Never Come''(《雨季不再来》), which includes her pure love and sincere attitude towards people. And the concept is in close alignment with the "universal love" of Mohism, which advocates the practice of love without distinctions despite the respective relationship and origins. Equal care for others, the quality of tolerant and inclusive mentality of Sanmao could always be found in her other articles. (Yu 2017, 33)

'''2.3 Lin Yihan--Fang Siqi, Paradise Lost hidden in Each Ripped Square Sheets'''

Lin Yihan, a Chinese female writer, inherits the writing style of Zhang Ailing and employs differentiated methods to render unusual sentiment. The inanimated language use framing individual trama boldly conceals agonizing excruciation, wind and rain leaves no trace but the massive edification. Her work ''Fang Siqi's First Love Paradise''(《房思琪的初恋乐园》) tells the story of a girl named Fang Siqi being seduced for a long time by Li Guohua who was a teacher of a private school. The work makes inquiries for women’s right of speech. It describes the female image fallen in line with the patriarchal culture in Taiwan, pointing out that the patriarchal culture is subtly disciplining women in the name of literature and education by its fabricated moral conventions. For example, the elder sister Yi Wen, though highly educated with enjoyment of intellectual pursuit, found her husband's family which was of the same descent as hers still forced her to bring them a son (in traditional Chinese thinking. Women are still fertility tools and believed to bore “promising” pregnancy with a definite son); The insult that Siqi received turned the traditional concept (even if it was not the victim's fault at all) into a piece of "rotten meat" (the crime of erosion was cleverly attributed to the victim). (Wang 2002, 4)

'''2.4 Li Bihua--Ghost(Unchained Empathy)'''

Li Bihua, a Chinese writer, treats challenging materials with grace and poignancy, luxuriating in her own eccentric wording, twisted plot, evocative emotions. Although the content of her work ''Dumplings''(《饺子》)is quirky and daring with novelettish feelings, it is a distinctive literary "step" to use the food of Hong Kong, Macao and Guangdong as the bait to "trick" the reader to the emotional climax. When the readers understand the truth, they are already trapped in it. Shrimp dumplings, egg tarts, marinated duck, Chinese bird's nest cake, these delicacies with Chinese regional characteristics symbolize not only the basis of the plot but also the carrier of culture. (Jia 2004, 103)

'''3. Summary'''

Despite only one different Chinese character("literature" stands for "文学" and "culture" refers to "文化"), "literature" and "culture" encapsulates the zeitgeist of different eras. Feminist criticism and theoretical discourse enlightenment in the scope of Chinese culture to varying degrees can be gleaned from the four female writers with their particularized narratives introduced in this article, which could facilitate related progress. Besides, we surely could witness the renewed transformation in the connotation of Chinese culture adapting to the ongoing advance of feminist literature. It could also be certified that the interpretation of female writers pursue gender liberation as well as equality and freedom. Winston Churchill once said, "A culture that does not accompany its strength may face cultural extinction." Perhaps culture itself does not have to incorporate into the traditional discourse. However, it could not be built upon the cornerstone of the innocent and blameless lives while there would be someone shouting "the unbearable lightness of being". (Lin 2004, 139)

'''Terms and Expressions:'''

''Dream of Genius'' 《天才梦》

''Half of Lifelong Romance'' 《半生缘》

May Fourth Movement 五四运动

Patriarchal clan system(the feudal clan system) 宗法制

Patriarchal chiefs system 嫡长子继承制

patriarchal culture 父权文化

the Son of Heaven 天子

concubine 妾；姨太太

''The Rainy Season Will Never Come'' 《雨季不再来》

Universal love 兼爱

Mohism 墨家思想

''Fang Siqi's First Love Paradise'' 《房思琪的初恋乐园》

''Dumplings'' (饺子》

Shrimp dumplings 虾饺

egg tarts 蛋挞

marinated duck 卤水鸭

Chinese bird’s nest cake 燕窝糕

'''Questions:'''

1. After reading this article, what's your personal view on the development of Chinese culture and women's literature?

2. Do you think Chinese female literature has a positive impact on breaking down the dregs of feudal culture(the negative effect not the positive ones)?

3. What do "patriarchal clan system" and "patriarchal chiefs system" have in common?

4. How would you rate each of the female writers featured in this article?

5. Do you have different thoughts on promoting Chinese culture through literary works? (creative measures are largely welcomes!)

'''Answers:'''

1. They could supplement each other with the parts of significance and they could contribute to the common development of each other.

2. Yes sure it is. As there exists the underlying need for women writers to foster pacesetters in terms of illuminating the harsh reality, we need to know what should be put in place once the obsolete ones face their time.

3. The two concepts share the same matrix of "the eldest male 'brought' by the legally married wife(also the eldest) could be rewarded with dominance.

4. No, I'm afraid I would not rate each of them as I'm not qualified to do that. So sorry.

5. Social platform, media, live-streaming, drama(the collision between the modern times and the past traditions).

'''References:'''

'''女性作家专题：张爱玲、陈平（三毛）、林奕含及李碧华'''

廖文垚

'''1.引言'''

文学作品与文化有着密不可分的关系，一方面，文学作品的本质在于其或通过特定的情节传递出文化特质，或使用语言符号作为载体呈现出人类在现代性变革中的复杂时空感知，而“现代性是一种关于时间的文化”，伴随着物理层面上时间轴的延长，空间场所的不断扩张，一种继生于存在体验、精神超脱的复杂织体与描述到的文化历史、宗教观念相有关联。另一方面，文化必会影响文学作品的撰写与发展，设置特定的“文化景观”，而影响文化世界的展开以及个人体验形式的回溯展望。以古贯今，中国女性文学历史渊源极深，发展长路漫漫，女性作家跃然而起，与男性作家一样，挥笔毫墨间，钻仰中华文化之渊秘，涣尔书陈底蕴之冰开。女性介入历史性书写，建构自身话语体系，能够体现出不同时期中国女性文学文本批评文化，更有适时女性于挣扎中寻找自我、追求新时代性别平等思潮文化的复杂要求，这也是中国文化的组成部分，而接下来，笔者会介绍四位女性作家以及其中的文化元素和内涵，进而研讨女性文学作品中彰显的中国文化要素。(Wang 2006, 78)

'''2.四位女作家介绍及涉及文化要素'''

具体内容详见下文。

'''2.1 张爱玲——“天才传奇梦”'''

张爱玲是20世纪中国最具影响力的女作家之一。而这一节将首要谈到“文化研究”与“文化身份”，后者依托后殖民理论析述，移用于前者中去（前者是一类理论话语），从文艺美学的层面来看，即为肯定研究主体“存在即合理”以及自身具备的美学价值；从文学研究的外延层面来看，是为语境式研究和文本式研究相结合的。“文化身份”诉诸包含文学和文化研究中的民族本质特征和带有民族印记的文化本质特征。该点在张爱玲的作品《半生缘》中亦有体现：彼时新思潮旧学识交织纷杂，封建意识盘踞不下，而西方思想已然侵染其中。故事的女主人翁——顾曼桢，其“文化身份”具有不确定性以及一定程度上的矛盾性。在思想上，顾曼桢经受“五四时代”精神洗礼，抗拒母亲自以为“义”的婚事（即与豫瑾——她姐姐的未成“初恋”同婚），坚守着“婚恋自由”“婚娶自主”的追求而选择沈世钧，在宗法人伦视角下传统母女关系的多重性表现中，该角色超越传统女儿形象建构；然而在后续的情节发展中，主人公的“文化身份”又显现出“矛盾”底色来，“自由”与“人伦”，是非“鱼与熊掌焉”？女主角毅然踏入与强奸犯的婚姻中，曲折妥协的“自戕”加深了悲惨的论调，“在人伦情感的掩护下,女儿对情感的追求就容易滑入宗法等级下的没有自我的深渊。张爱玲也正是借了这个人物，揭示了即使已有”德先生“”赛先生“旗帜高悬于青天之上，仍裹挟于传统宗法文化洪流中的女性文化发展的矛盾性。(Liu 2000, 12)

正如前文所述，作品的历史背景展现的是一个既无法摆脱虬扎良久的过往固有规制体系，又无法根彻地“胎生”出一套现代文明的社会体制的“光怪陆离”的时代；在张爱玲的《半生缘》这部作品中，传统的“宗法人伦”观念文化得以窥见。“宗法制”，“嫡长子继承制”则是“缘”中的关键词：“嫡长子继承制”是指古代统治者实行一夫多妻制，多妻中有一个正妻，即“嫡”，其子为嫡子；其他妻子为”庶“，其子为庶子。按照周制，最高统治者称为天子，统治天下的土地和臣民，继承王位的，也必须是嫡长子，至于贤良与否，并不作考究。在《半生缘》这部作品中，沈啸桐为权力的下发人，上位者；书中只写了两位地位相当的夫人——正房沈夫人以及“二房”“鼓楼那个”；故事的男主人翁是大房沈夫人的儿子，年纪是在社会上初闯荡着的。如此一来，在文中就有描述，在沈啸桐病重时，急召沈世钧返家，并正因世钧是正房所出——归属于“嫡长子”范畴，便将“倚靠”托给了世钧，这样的情节并也凸显出“嫡长子继承制”在文化中之根基久深来。(Zhao 2012, 132)

'''2.2 陈平（三毛）——“自由的灵魂”'''

三毛，又名陈平，中国著名女作家。她一生追求自由，是独特生命的奇迹；她笔下走过的万水千山，是以给万千读者聊以生命的慰藉。当然，在她的《雨季不再来》一书中，也能察觉到部分中华文化元素的体现，包括其博爱且真挚的思想情感，这与墨家思想中的“兼爱”不谋而合，后者倡导无差别地爱一切人，不分亲疏贵贱，平等地关爱他人（从三毛其他地作品里也能看到三毛宽容、包容地心态是时常存在着的）。(Yu 2017, 33)

'''2.3林奕含——“房思琪，拆开的每一个格子里都是失掉的乐园”'''

林奕含，中国女作家，文风承接“张派”，雕词论调不走寻常路，乖拗的文字外壳下是一层焦冷捻湿的伤痛，风雨虽无飘荡，却也是漫山遍野的今天和琳琅。她的作品《房思琪的初恋乐园》通过讲述少女房思琪被补习班教师李国华长期诱奸一事，叩问情节背后隐藏的话语权问题。小说描写了在台湾社会男权文化治下的女性群像,指出男权文化正以其编造的道德惯例、正以文学和教养的名义潜移默化地规训女性。例如，书中的伊纹姐姐，即使受过了高等教育，寻得的夫家也是一介清流，仍要逼迫着生贵子（中国传统思想，女人仍旧是生育工具，所承诺的只有大着的肚子和必须生下的男胎）；思琪受到的侮辱，给传统观念（即使完全不是受害者的错）下拧成了一坨烂肉（糜烂的罪孽被巧言令色地嫁祸给了受害者）。 (Wang 2002, 4)

'''2.4 李碧华——“人鬼情未了”'''

李碧华，中国作家，笔风辛辣，文力凄艳悲凉，情节诡谲丛生，鬼魅无影。她的作品《饺子》中虽内容诡丽阴冷，情感黏滞，但极有特色地将港澳及广东地区的食物作“诱引”，一步步将读者“骗”到情感高潮处，待醒悟已是浑然困宥于其中矣。虾饺、蛋挞、卤水鸭、燕窝糕，这些具有中国地区特色的美食，既成为了情节的依托，也作为了文化的载体。(Jia 2004, 103)

'''3.结语'''

“文学”与“文化”，虽只有一字之差，但都反映了时代下的精华。文中介绍的四位女作家，虽文风有所不同，但都不同程度地反映了中华文化范围内女性主义批评思潮与理论话语启蒙，而这一进程虽仍在行进之中，但也形成一定态势。当然，我们更能看到在语境变迭发展下，在女性主义文学发展下的中华文化内涵发生了新的变化，也能看到女性文人追求性别解放、争取平等自由的诠释。丘吉尔说过：“不伴随力量的文化，到明天将成为灭绝的文化。”，或许，文化不必在于传统话语之“重”，只是，不能再踩踏在无辜的血肉冤魂之上，高喊“生命不能承受之轻”。(Lin 2004, 139)

'''问答中文原文：'''

1.看完本文后，你对於中国文化及女性文学发展有什么样的看法吗？

2.你是否认为中国女性文学对破除封建文化糟粕具有积极影响？

3.“宗法制”和“嫡长子继承制”是什么意思？

4.给本文中涉及到的女性作家打分的话，你每个会打几分？

5.对于以文学作品宣扬中华文化，你是否有不一样的见解？（可以谈谈具体措施）

1. 他们相互补充，并为彼此的共同发展做出贡献。

2. 当然。由于需要女性作家先行揭示（以文笔）残酷现实，我们必须破旧立新。

3. 这两个概念相同之处就是大房的长子一般能获得统治地位。

4. 不好意思，我觉得我还达不到能给她们打分的水平。

5. 社交平台、媒体、直播、戏剧（现代与过去传统的碰撞）。

'''参考文献：'''
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[6] 王炳钧,王炎,汪民安,等. 空间、现代性与文化记忆[J]. 外国文学, 2006, (04): 76-87.
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[8] 喻徳琴. 文本叙事角度下的《梦里花落知多少》[J]. 语文建设, 2017, (15): 33-34.
[9] 张爱玲. 半生缘[M]. 北京: 北京十月文艺出版社, 2012.
[10] 赵劲鹰. 浮华世界凋零的玫瑰——菲茨杰拉德和张爱玲作品中的女性异化现象[J]. 文艺争鸣, 2012, (08): 131-134.
[11] Frevert, Ute. 2016. The History of Emotions [G]∥Lisa F. Barrett et. Al. Handbook of Emotions(4th ed.). New York /London: The Guilford Press, 49-65．．
[12] Simone De Beauvoir. The second sex [M]. Vintage, Penguin Books: UK, 2011.
[13] Wierzbicka, Anna. Emotions across Languages and Cultures: Diversity and Universals[M]. Cambridge: CUP, 1999,

I hereby guarantee that I have not used the help of AI to write my final paper in this course.

User:Liao Wenyao

2024-12-31T04:08:10Z

Liao Wenyao:

My name is Liao Wenyao and I love eating fruits. I used to be a student and I am still a student for now. I major in English interpretation now and the official name for my master degree is Master of Translation and Interpretation. The college that I get enrolled in is Hunan Normal University. I have no pets and am not allergic to anything. I love playing badminton but I haven’t played it for quite a loooooong time. I might have obsessive-compulsive disorder and we all wish we can make great academic achievement and may the world in peace. See it, say it, sorted.

'''''Tips: From November 10th to December 5th, I learned the lyrics of a song by one line per day, and then I asked AI for the grammar, vocabularies, translation and the pronunciation of them.'''''

'''2024.11.10''' I learned with AI for "J'ai touché l'enfance de mes doigts encore feutrés（中文：我用湿漉漉的手指触摸了童年）"

'''2024.11.11''' I learned with AI for "Ressassé cette histoire comme si je l'avais recontrée（中文：重讲这个故事，就好像我又碰到她了一样）"

'''2024.11.12''' I learned with the help of AI for "La vraie belle nouveauté c'est celle qui ne vieillit pas（中文：真正美丽的新奇玩意儿永不过时）"

'''2024.11.13''' I learned with the help of AI for "Celle qui nous garde les ciels pastels l'orage quand il fait froid（中文：当凛冽的暴风雨来临时，让我们保留柔软的天空）"

'''2024.11.14''' I learned with the help of AI for "Je laisse aux autres les demain（中文：把明天留给别人）"

'''2024.11.15''' I learned with the help of AI for "Moi je prends que les maintenant（中文：我只想珍惜当下）"

'''2024.11.16''' I learned with the help of AI for "Si c'est pou penser la fin（中文：若要考虑未来的结局）"

'''2024.11.17''' I learned with the help of AI for "Compte sur mes rêves d'enfant（中文：那就让我仰赖童年的梦想）"

'''2024.11.18''' I learned with the help of AI for "Petite je fuis le tempts déja peur des convenances（中文：小时候，时间给我逃了脱，已然使我害怕礼节）"

'''2024.11.19''' I learned with the help of AI for "Et la vraie étoffe des gens c'est fou tout ce qui'ils pensent（中文：而人们所有的真实，他们想的一切都是疯狂的）"

'''2024.11.20''' I learned through AI for "C'est triste toute cette méfiance faudrait suivre l'aivon en papier（中文：可悲啊，所有这些猜疑，应该跟着纸飞机走）"

'''2024.11.21''' I learned through AI for "Hurler pour s'envoler surtout quand on pense au passé（中文：尖叫着飞翔着，尤其是当你想回到过去时）"

'''2024.11.22''' I learned through AI for "J'regrette mon adolescence（中文：我后悔我的青春期）"

'''2024.11.23''' I learned through AI for "Et pourtant c'est pas fini（中文：但它还没有结束）"

'''2024.11.24''' I learned through AI for "Quand t'es petit y'a la méfiance（中文：当你还小，就会对别人猜猜点点的)"

'''2024.11.25''' I learned through AI for "Puis après vient le mépris（中文：然后又轻蔑）"

'''2024.11.26''' I learned through AI for "Y'a des jours ou ca va mal（中文：有时候事情总不对）"

'''2024.11.27''' I learned through AI for "C'est que t'oublies quand ca va bien（中文：只要你什么时候好就忘了）"

'''2024.11.28''' I learned thorugh AI for "Les adultes ils crient ils ralent（中文：大人们又叫又哭的）”

'''2024.11.29''' I learned through AI for “Disent des choses qui servant à rien （中文：说些没用的话）”

'''2024.11.30''' I learned through Ai for “Tu passe ta vie dans le passé（中文：人的一生都在进行过去时）

'''2024.12.1''' I learned the “Et pourtant c'est pas si beau（中文：但并不总那么美丽）”

'''2024.12.2''' I learned the “Tu te souviens des jours usés ?（中文：你还记得过去的日子吗？）” with AI

'''2024.12.3''' I learned the “Des mois de mai, des batailles d'eau（中文：五月的水战）” with AI

'''2024.12.4''' I learned the “Faut s'y faire t'es juste grand（中文：你得习惯，只不过是个子比别人高了一些而已）”and “Y'en aura pleins tu verras（中文：会有很多你能看到的）” with AI

'''2024.12.5''' I learned the “Des belles choses, des bons moments（中文：美好的事物啊美好的时光）” and “Des belles choses, des bons moments（中文：当一切结束，你又会后悔）” with AI

'''Note: I decide to learn something else~''''I would like to learn a French poem with the magical assistance of A''I(the poem is called Pour Demian)''.''

'''2024.12.6''' I learned the "Vous que le printemps opéra(奇迹春天唾手而成魔术)" with AI;

'''2024.12.7''' I learned the "Miracles ponctuez ma stance(请替我的诗章断句分行)" with AI;

'''2024.12.8''' I learned the "Mon esprit épris du départz(我的迷恋于出走的思想)" with AI;

'''2024.12.9''' I learned the "Dans un rayon soudain se perd(陡然间消失于一线光亮)" with AI;

'''2024.12.10''' I learned the "Perpétué par la cadence(又由光的节奏频频延续)" with AI;

'''2024.12.11''' I learned the "La Seine au soleil d'avril danse(塞纳河荡漾于四月艳阳)" with AI;

'''2024.12.12''' I learned the "Comme Cécile au premier bal(像塞西尔首次翩然领舞)" with AI;

'''2024.12.13''' I learned the "Ou plutôt roule des pépites(又似卷拂起细密的金砾)" with AI;

'''2024.12.14''' I learned the "Vers les ponts de pierre ou les cribles(涌向那道道石桥或筛网)" with AI;

'''2024.12.15''' I learned the "Charme sûr La ville est le val(耐看的幻美城池化溪谷)" with AI;

'''2024.12.16''' With the help of AI, I learned the "Les quais gais comme en carnaval(左右堤岸节日般狂欢)" .

'''2024.12.17''' With the help of AI, I learned the "Vont au devant de la lumière(一起拥戴那光明远去)".

'''2024.12.18''' With the help of AI, I learned the "Elle visite les palais(她驾临的重重宫殿)".

'''2024.12.19''' With the help of AI, I learned the "Et les roses du jour aux vitres(和窗扇掩映的盛开玫瑰)".

'''Female Writers: Zhang Ailing, Chen Ping(Sanmao), Lin Yihan and Li Bihua'''

Written by Liao Wenyao(Rose)

'''1. Introduction'''

Literature is closely related to culture. In the first place, the nature of literary works lies in its capacity to convey the unique essence of certain culture through specific plots. It could also capture the complexities of human experiences shaped by transcendental concepts of time and space in the context of modernity transformation with the usage of language as the vehicle. "Modernity is a culture over time", as the timeline lengthens and the space witnesses continuous dilation from the sheer perspective of physics, an intricate self inherited from the previous existence and spiritual detachment becomes intertwined with the culture as well as history and religious notions that have been portrayed. On the other side of the coin, culture always has a profound impact on the production and development of literary works. The cultural setting would often influence the expansion of the cultural world and the retrospective prospect of individual episodes. From ancient civilizations to modern times, the female literary tradition in China has deep historical roots. Female literature that heralds women's efforts to strive for deserved status notes slow progress and the state of fragility. And female writers, as other male writers, delve into the most speculative and enigmatic appreciation of Chinese culture, unravel evolving understanding of human nature. Therefore, women's engagement in literature production and their own discourse system could reflect female literary criticism culture in different periods. Those endeavors mirrors the impenetrable requirements of women's pursuit of self-discovery and gender equality that has been regarded as the ideological trend culture in the given era. The rumination also served as an integral part of Chinese culture. In the following text, four female writers and the involved cultural components and connotations will be introduced. The discussion of the elements of Chinese culture would be manifested in female literary works. (Wang 2006, 78)

'''2. Four Female Writers and the Involved Chinese Culture'''

The specifics will be given below.

'''2.1 Zhang Ailing(张爱玲)--A Dream of Genius and Legend(''Dream of Genius''(《天才梦》) is also one of her literary work)'''

Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)

As what has been mentioned above, the historical background of the work demonstrates a "grotesque" era in which the endogenous regulatory system that has been existed from the past hundred years engaged deeply with aspects of the social mobility. And the entrenched institutions failed to promptly "give birth to" a modern as well as civilized social system across the board. The traditional "patriarchal clan" concept culture was also articulated In Zhang Ailing's ''Half of Lifelong Romance''. "Patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" are the key words in the work: "Patriarchal chiefs system" indicates that the greatest authority and property would be passed to the first-born son (嫡长子) delivered by the eldest wife or a concubine while following the institution of polygamy in the Chinese imperial system. Under the circumstance, and the rest of the sons(庶子) would be deemed to be less noble than the eldest son. The hereditary king of the Zhou Dynasty was called the Son of Heaven, who was the political master of the world. And the throne and the position of the great lords would only be inherited by the eldest son of the eldest wife once the dominant character passed away. It is notable that the integrity and competence were not taken into account for selecting heads of all levels of power. In Half of Lifelong Romance, Shen Xiaotong(Shen Shijun's father) was of the higest rank of nobility in the Shen clan and his supremacy could be alloted to anyone at his disposal. A wife and a concubine of Shen Xiaotong were respectively described, one of them was lawfully wedded wife and the other one was given the support of concubinage. The male master of the story is the eldest son of lawful spouse, he was attempting to earn a tint of fortune in Shanghai. Therefore, it is described in the plot that when Shen Xiaotong was seriously ill, he urgently summoned Shen Shijun to return home, and because Shijun could be regarded as "嫡长子", he entrusted "reliance" to Shijun, which also highlights the clout of "patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" in Chinese culture. (Zhao 2012, 132)

'''2.2 Chen Ping(Sanmao)--Soul with the Wind'''

Sanmao, also known as Chen Ping, is a trailblazing writer in China. Her lifelong pursuit of freedom is the miracle of a unique life, the mighty rivers and vast landscapes she talked about in the books serve as the console for thousands of readers to escapism. The cultural elements defined by diversified Chinese traditions could also be identified in ''The Rainy Season Will Never Come''(《雨季不再来》), which includes her pure love and sincere attitude towards people. And the concept is in close alignment with the "universal love" of Mohism, which advocates the practice of love without distinctions despite the respective relationship and origins. Equal care for others, the quality of tolerant and inclusive mentality of Sanmao could always be found in her other articles. (Yu 2017, 33)

'''2.3 Lin Yihan--Fang Siqi, Paradise Lost hidden in Each Ripped Square Sheets'''

Lin Yihan, a Chinese female writer, inherits the writing style of Zhang Ailing and employs differentiated methods to render unusual sentiment. The inanimated language use framing individual trama boldly conceals agonizing excruciation, wind and rain leaves no trace but the massive edification. Her work ''Fang Siqi's First Love Paradise''(《房思琪的初恋乐园》) tells the story of a girl named Fang Siqi being seduced for a long time by Li Guohua who was a teacher of a private school. The work makes inquiries for women’s right of speech. It describes the female image fallen in line with the patriarchal culture in Taiwan, pointing out that the patriarchal culture is subtly disciplining women in the name of literature and education by its fabricated moral conventions. For example, the elder sister Yi Wen, though highly educated with enjoyment of intellectual pursuit, found her husband's family which was of the same descent as hers still forced her to bring them a son (in traditional Chinese thinking. Women are still fertility tools and believed to bore “promising” pregnancy with a definite son); The insult that Siqi received turned the traditional concept (even if it was not the victim's fault at all) into a piece of "rotten meat" (the crime of erosion was cleverly attributed to the victim). (Wang 2002, 4)

'''2.4 Li Bihua--Ghost(Unchained Empathy)'''

Li Bihua, a Chinese writer, treats challenging materials with grace and poignancy, luxuriating in her own eccentric wording, twisted plot, evocative emotions. Although the content of her work ''Dumplings''(《饺子》)is quirky and daring with novelettish feelings, it is a distinctive literary "step" to use the food of Hong Kong, Macao and Guangdong as the bait to "trick" the reader to the emotional climax. When the readers understand the truth, they are already trapped in it. Shrimp dumplings, egg tarts, marinated duck, Chinese bird's nest cake, these delicacies with Chinese regional characteristics symbolize not only the basis of the plot but also the carrier of culture. (Jia 2004, 103)

'''3. Summary'''

Despite only one different Chinese character("literature" stands for "文学" and "culture" refers to "文化"), "literature" and "culture" encapsulates the zeitgeist of different eras. Feminist criticism and theoretical discourse enlightenment in the scope of Chinese culture to varying degrees can be gleaned from the four female writers with their particularized narratives introduced in this article, which could facilitate related progress. Besides, we surely could witness the renewed transformation in the connotation of Chinese culture adapting to the ongoing advance of feminist literature. It could also be certified that the interpretation of female writers pursue gender liberation as well as equality and freedom. Winston Churchill once said, "A culture that does not accompany its strength may face cultural extinction." Perhaps culture itself does not have to incorporate into the traditional discourse. However, it could not be built upon the cornerstone of the innocent and blameless lives while there would be someone shouting "the unbearable lightness of being". (Lin 2004, 139)

'''Terms and Expressions:'''

''Dream of Genius'' 《天才梦》

''Half of Lifelong Romance'' 《半生缘》

May Fourth Movement 五四运动

Patriarchal clan system(the feudal clan system) 宗法制

Patriarchal chiefs system 嫡长子继承制

patriarchal culture 父权文化

the Son of Heaven 天子

concubine 妾；姨太太

''The Rainy Season Will Never Come'' 《雨季不再来》

Universal love 兼爱

Mohism 墨家思想

''Fang Siqi's First Love Paradise'' 《房思琪的初恋乐园》

''Dumplings'' (饺子》

Shrimp dumplings 虾饺

egg tarts 蛋挞

marinated duck 卤水鸭

Chinese bird’s nest cake 燕窝糕

'''Questions:'''

1. After reading this article, what's your personal view on the development of Chinese culture and women's literature?

2. Do you think Chinese female literature has a positive impact on breaking down the dregs of feudal culture(the negative effect not the positive ones)?

3. What do "patriarchal clan system" and "patriarchal chiefs system" have in common?

4. How would you rate each of the female writers featured in this article?

5. Do you have different thoughts on promoting Chinese culture through literary works? (creative measures are largely welcomes!)

'''Answers:'''

1. They could supplement each other with the parts of significance and they could contribute to the common development of each other.

2. Yes sure it is. As there exists the underlying need for women writers to foster pacesetters in terms of illuminating the harsh reality, we need to know what should be put in place once the obsolete ones face their time.

3. The two concepts share the same matrix of "the eldest male 'brought' by the legally married wife(also the eldest) could be rewarded with dominance.

4. No, I'm afraid I would not rate each of them as I'm not qualified to do that. So sorry.

5. Social platform, media, live-streaming, drama(the collision between the modern times and the past traditions).

'''References:'''

'''女性作家专题：张爱玲、陈平（三毛）、林奕含及李碧华'''

廖文垚

'''1.引言'''

文学作品与文化有着密不可分的关系，一方面，文学作品的本质在于其或通过特定的情节传递出文化特质，或使用语言符号作为载体呈现出人类在现代性变革中的复杂时空感知，而“现代性是一种关于时间的文化”，伴随着物理层面上时间轴的延长，空间场所的不断扩张，一种继生于存在体验、精神超脱的复杂织体与描述到的文化历史、宗教观念相有关联。另一方面，文化必会影响文学作品的撰写与发展，设置特定的“文化景观”，而影响文化世界的展开以及个人体验形式的回溯展望。以古贯今，中国女性文学历史渊源极深，发展长路漫漫，女性作家跃然而起，与男性作家一样，挥笔毫墨间，钻仰中华文化之渊秘，涣尔书陈底蕴之冰开。女性介入历史性书写，建构自身话语体系，能够体现出不同时期中国女性文学文本批评文化，更有适时女性于挣扎中寻找自我、追求新时代性别平等思潮文化的复杂要求，这也是中国文化的组成部分，而接下来，笔者会介绍四位女性作家以及其中的文化元素和内涵，进而研讨女性文学作品中彰显的中国文化要素。(Wang 2006, 78)

'''2.四位女作家介绍及涉及文化要素'''

具体内容详见下文。

'''2.1 张爱玲——“天才传奇梦”'''

张爱玲是20世纪中国最具影响力的女作家之一。而这一节将首要谈到“文化研究”与“文化身份”，后者依托后殖民理论析述，移用于前者中去（前者是一类理论话语），从文艺美学的层面来看，即为肯定研究主体“存在即合理”以及自身具备的美学价值；从文学研究的外延层面来看，是为语境式研究和文本式研究相结合的。“文化身份”诉诸包含文学和文化研究中的民族本质特征和带有民族印记的文化本质特征。该点在张爱玲的作品《半生缘》中亦有体现：彼时新思潮旧学识交织纷杂，封建意识盘踞不下，而西方思想已然侵染其中。故事的女主人翁——顾曼桢，其“文化身份”具有不确定性以及一定程度上的矛盾性。在思想上，顾曼桢经受“五四时代”精神洗礼，抗拒母亲自以为“义”的婚事（即与豫瑾——她姐姐的未成“初恋”同婚），坚守着“婚恋自由”“婚娶自主”的追求而选择沈世钧，在宗法人伦视角下传统母女关系的多重性表现中，该角色超越传统女儿形象建构；然而在后续的情节发展中，主人公的“文化身份”又显现出“矛盾”底色来，“自由”与“人伦”，是非“鱼与熊掌焉”？女主角毅然踏入与强奸犯的婚姻中，曲折妥协的“自戕”加深了悲惨的论调，“在人伦情感的掩护下,女儿对情感的追求就容易滑入宗法等级下的没有自我的深渊。张爱玲也正是借了这个人物，揭示了即使已有”德先生“”赛先生“旗帜高悬于青天之上，仍裹挟于传统宗法文化洪流中的女性文化发展的矛盾性。(Liu 2000, 12)

正如前文所述，作品的历史背景展现的是一个既无法摆脱虬扎良久的过往固有规制体系，又无法根彻地“胎生”出一套现代文明的社会体制的“光怪陆离”的时代；在张爱玲的《半生缘》这部作品中，传统的“宗法人伦”观念文化得以窥见。“宗法制”，“嫡长子继承制”则是“缘”中的关键词：“嫡长子继承制”是指古代统治者实行一夫多妻制，多妻中有一个正妻，即“嫡”，其子为嫡子；其他妻子为”庶“，其子为庶子。按照周制，最高统治者称为天子，统治天下的土地和臣民，继承王位的，也必须是嫡长子，至于贤良与否，并不作考究。在《半生缘》这部作品中，沈啸桐为权力的下发人，上位者；书中只写了两位地位相当的夫人——正房沈夫人以及“二房”“鼓楼那个”；故事的男主人翁是大房沈夫人的儿子，年纪是在社会上初闯荡着的。如此一来，在文中就有描述，在沈啸桐病重时，急召沈世钧返家，并正因世钧是正房所出——归属于“嫡长子”范畴，便将“倚靠”托给了世钧，这样的情节并也凸显出“嫡长子继承制”在文化中之根基久深来。(Zhao 2012, 132)

'''2.2 陈平（三毛）——“自由的灵魂”'''

三毛，又名陈平，中国著名女作家。她一生追求自由，是独特生命的奇迹；她笔下走过的万水千山，是以给万千读者聊以生命的慰藉。当然，在她的《雨季不再来》一书中，也能察觉到部分中华文化元素的体现，包括其博爱且真挚的思想情感，这与墨家思想中的“兼爱”不谋而合，后者倡导无差别地爱一切人，不分亲疏贵贱，平等地关爱他人（从三毛其他地作品里也能看到三毛宽容、包容地心态是时常存在着的）。(Yu 2017, 33)

'''2.3林奕含——“房思琪，拆开的每一个格子里都是失掉的乐园”'''

林奕含，中国女作家，文风承接“张派”，雕词论调不走寻常路，乖拗的文字外壳下是一层焦冷捻湿的伤痛，风雨虽无飘荡，却也是漫山遍野的今天和琳琅。她的作品《房思琪的初恋乐园》通过讲述少女房思琪被补习班教师李国华长期诱奸一事，叩问情节背后隐藏的话语权问题。小说描写了在台湾社会男权文化治下的女性群像,指出男权文化正以其编造的道德惯例、正以文学和教养的名义潜移默化地规训女性。例如，书中的伊纹姐姐，即使受过了高等教育，寻得的夫家也是一介清流，仍要逼迫着生贵子（中国传统思想，女人仍旧是生育工具，所承诺的只有大着的肚子和必须生下的男胎）；思琪受到的侮辱，给传统观念（即使完全不是受害者的错）下拧成了一坨烂肉（糜烂的罪孽被巧言令色地嫁祸给了受害者）。 (Wang 2002, 4)

'''2.4 李碧华——“人鬼情未了”'''

李碧华，中国作家，笔风辛辣，文力凄艳悲凉，情节诡谲丛生，鬼魅无影。她的作品《饺子》中虽内容诡丽阴冷，情感黏滞，但极有特色地将港澳及广东地区的食物作“诱引”，一步步将读者“骗”到情感高潮处，待醒悟已是浑然困宥于其中矣。虾饺、蛋挞、卤水鸭、燕窝糕，这些具有中国地区特色的美食，既成为了情节的依托，也作为了文化的载体。(Jia 2004, 103)

'''3.结语'''

“文学”与“文化”，虽只有一字之差，但都反映了时代下的精华。文中介绍的四位女作家，虽文风有所不同，但都不同程度地反映了中华文化范围内女性主义批评思潮与理论话语启蒙，而这一进程虽仍在行进之中，但也形成一定态势。当然，我们更能看到在语境变迭发展下，在女性主义文学发展下的中华文化内涵发生了新的变化，也能看到女性文人追求性别解放、争取平等自由的诠释。丘吉尔说过：“不伴随力量的文化，到明天将成为灭绝的文化。”，或许，文化不必在于传统话语之“重”，只是，不能再踩踏在无辜的血肉冤魂之上，高喊“生命不能承受之轻”。(Lin 2004, 139)

'''问答中文原文：'''

1.看完本文后，你对於中国文化及女性文学发展有什么样的看法吗？

2.你是否认为中国女性文学对破除封建文化糟粕具有积极影响？

3.“宗法制”和“嫡长子继承制”是什么意思？

4.给本文中涉及到的女性作家打分的话，你每个会打几分？

5.对于以文学作品宣扬中华文化，你是否有不一样的见解？（可以谈谈具体措施）

1. 他们相互补充，并为彼此的共同发展做出贡献。

2. 当然。由于需要女性作家先行揭示（以文笔）残酷现实，我们必须破旧立新。

3. 这两个概念相同之处就是大房的长子一般能获得统治地位。

4. 不好意思，我觉得我还达不到能给她们打分的水平。

5. 社交平台、媒体、直播、戏剧（现代与过去传统的碰撞）。

I hereby guarantee that I have not used the help of AI to write my final paper in this course.

User:Liao Wenyao

2024-12-31T04:07:27Z

Liao Wenyao:

My name is Liao Wenyao and I love eating fruits. I used to be a student and I am still a student for now. I major in English interpretation now and the official name for my master degree is Master of Translation and Interpretation. The college that I get enrolled in is Hunan Normal University. I have no pets and am not allergic to anything. I love playing badminton but I haven’t played it for quite a loooooong time. I might have obsessive-compulsive disorder and we all wish we can make great academic achievement and may the world in peace. See it, say it, sorted.

'''''Tips: From November 10th to December 5th, I learned the lyrics of a song by one line per day, and then I asked AI for the grammar, vocabularies, translation and the pronunciation of them.'''''

'''2024.11.10''' I learned with AI for "J'ai touché l'enfance de mes doigts encore feutrés（中文：我用湿漉漉的手指触摸了童年）"

'''2024.11.11''' I learned with AI for "Ressassé cette histoire comme si je l'avais recontrée（中文：重讲这个故事，就好像我又碰到她了一样）"

'''2024.11.12''' I learned with the help of AI for "La vraie belle nouveauté c'est celle qui ne vieillit pas（中文：真正美丽的新奇玩意儿永不过时）"

'''2024.11.13''' I learned with the help of AI for "Celle qui nous garde les ciels pastels l'orage quand il fait froid（中文：当凛冽的暴风雨来临时，让我们保留柔软的天空）"

'''2024.11.14''' I learned with the help of AI for "Je laisse aux autres les demain（中文：把明天留给别人）"

'''2024.11.15''' I learned with the help of AI for "Moi je prends que les maintenant（中文：我只想珍惜当下）"

'''2024.11.16''' I learned with the help of AI for "Si c'est pou penser la fin（中文：若要考虑未来的结局）"

'''2024.11.17''' I learned with the help of AI for "Compte sur mes rêves d'enfant（中文：那就让我仰赖童年的梦想）"

'''2024.11.18''' I learned with the help of AI for "Petite je fuis le tempts déja peur des convenances（中文：小时候，时间给我逃了脱，已然使我害怕礼节）"

'''2024.11.19''' I learned with the help of AI for "Et la vraie étoffe des gens c'est fou tout ce qui'ils pensent（中文：而人们所有的真实，他们想的一切都是疯狂的）"

'''2024.11.20''' I learned through AI for "C'est triste toute cette méfiance faudrait suivre l'aivon en papier（中文：可悲啊，所有这些猜疑，应该跟着纸飞机走）"

'''2024.11.21''' I learned through AI for "Hurler pour s'envoler surtout quand on pense au passé（中文：尖叫着飞翔着，尤其是当你想回到过去时）"

'''2024.11.22''' I learned through AI for "J'regrette mon adolescence（中文：我后悔我的青春期）"

'''2024.11.23''' I learned through AI for "Et pourtant c'est pas fini（中文：但它还没有结束）"

'''2024.11.24''' I learned through AI for "Quand t'es petit y'a la méfiance（中文：当你还小，就会对别人猜猜点点的)"

'''2024.11.25''' I learned through AI for "Puis après vient le mépris（中文：然后又轻蔑）"

'''2024.11.26''' I learned through AI for "Y'a des jours ou ca va mal（中文：有时候事情总不对）"

'''2024.11.27''' I learned through AI for "C'est que t'oublies quand ca va bien（中文：只要你什么时候好就忘了）"

'''2024.11.28''' I learned thorugh AI for "Les adultes ils crient ils ralent（中文：大人们又叫又哭的）”

'''2024.11.29''' I learned through AI for “Disent des choses qui servant à rien （中文：说些没用的话）”

'''2024.11.30''' I learned through Ai for “Tu passe ta vie dans le passé（中文：人的一生都在进行过去时）

'''2024.12.1''' I learned the “Et pourtant c'est pas si beau（中文：但并不总那么美丽）”

'''2024.12.2''' I learned the “Tu te souviens des jours usés ?（中文：你还记得过去的日子吗？）” with AI

'''2024.12.3''' I learned the “Des mois de mai, des batailles d'eau（中文：五月的水战）” with AI

'''2024.12.4''' I learned the “Faut s'y faire t'es juste grand（中文：你得习惯，只不过是个子比别人高了一些而已）”and “Y'en aura pleins tu verras（中文：会有很多你能看到的）” with AI

'''2024.12.5''' I learned the “Des belles choses, des bons moments（中文：美好的事物啊美好的时光）” and “Des belles choses, des bons moments（中文：当一切结束，你又会后悔）” with AI

'''Note: I decide to learn something else~''''I would like to learn a French poem with the magical assistance of A''I(the poem is called Pour Demian)''.''

'''2024.12.6''' I learned the "Vous que le printemps opéra(奇迹春天唾手而成魔术)" with AI;

'''2024.12.7''' I learned the "Miracles ponctuez ma stance(请替我的诗章断句分行)" with AI;

'''2024.12.8''' I learned the "Mon esprit épris du départz(我的迷恋于出走的思想)" with AI;

'''2024.12.9''' I learned the "Dans un rayon soudain se perd(陡然间消失于一线光亮)" with AI;

'''2024.12.10''' I learned the "Perpétué par la cadence(又由光的节奏频频延续)" with AI;

'''2024.12.11''' I learned the "La Seine au soleil d'avril danse(塞纳河荡漾于四月艳阳)" with AI;

'''2024.12.12''' I learned the "Comme Cécile au premier bal(像塞西尔首次翩然领舞)" with AI;

'''2024.12.13''' I learned the "Ou plutôt roule des pépites(又似卷拂起细密的金砾)" with AI;

'''2024.12.14''' I learned the "Vers les ponts de pierre ou les cribles(涌向那道道石桥或筛网)" with AI;

'''2024.12.15''' I learned the "Charme sûr La ville est le val(耐看的幻美城池化溪谷)" with AI;

'''2024.12.16''' With the help of AI, I learned the "Les quais gais comme en carnaval(左右堤岸节日般狂欢)" .

'''2024.12.17''' With the help of AI, I learned the "Vont au devant de la lumière(一起拥戴那光明远去)".

'''2024.12.18''' With the help of AI, I learned the "Elle visite les palais(她驾临的重重宫殿)".

'''2024.12.19''' With the help of AI, I learned the "Et les roses du jour aux vitres(和窗扇掩映的盛开玫瑰)".

'''Female Writers: Zhang Ailing, Chen Ping(Sanmao), Lin Yihan and Li Bihua'''

Written by Liao Wenyao(Rose)

'''1. Introduction'''

Literature is closely related to culture. In the first place, the nature of literary works lies in its capacity to convey the unique essence of certain culture through specific plots. It could also capture the complexities of human experiences shaped by transcendental concepts of time and space in the context of modernity transformation with the usage of language as the vehicle. "Modernity is a culture over time", as the timeline lengthens and the space witnesses continuous dilation from the sheer perspective of physics, an intricate self inherited from the previous existence and spiritual detachment becomes intertwined with the culture as well as history and religious notions that have been portrayed. On the other side of the coin, culture always has a profound impact on the production and development of literary works. The cultural setting would often influence the expansion of the cultural world and the retrospective prospect of individual episodes. From ancient civilizations to modern times, the female literary tradition in China has deep historical roots. Female literature that heralds women's efforts to strive for deserved status notes slow progress and the state of fragility. And female writers, as other male writers, delve into the most speculative and enigmatic appreciation of Chinese culture, unravel evolving understanding of human nature. Therefore, women's engagement in literature production and their own discourse system could reflect female literary criticism culture in different periods. Those endeavors mirrors the impenetrable requirements of women's pursuit of self-discovery and gender equality that has been regarded as the ideological trend culture in the given era. The rumination also served as an integral part of Chinese culture. In the following text, four female writers and the involved cultural components and connotations will be introduced. The discussion of the elements of Chinese culture would be manifested in female literary works. (Wang 2006, 78)

'''2. Four Female Writers and the Involved Chinese Culture'''

The specifics will be given below.

'''2.1 Zhang Ailing(张爱玲)--A Dream of Genius and Legend(''Dream of Genius''(《天才梦》) is also one of her literary work)'''

Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)

As what has been mentioned above, the historical background of the work demonstrates a "grotesque" era in which the endogenous regulatory system that has been existed from the past hundred years engaged deeply with aspects of the social mobility. And the entrenched institutions failed to promptly "give birth to" a modern as well as civilized social system across the board. The traditional "patriarchal clan" concept culture was also articulated In Zhang Ailing's ''Half of Lifelong Romance''. "Patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" are the key words in the work: "Patriarchal chiefs system" indicates that the greatest authority and property would be passed to the first-born son (嫡长子) delivered by the eldest wife or a concubine while following the institution of polygamy in the Chinese imperial system. Under the circumstance, and the rest of the sons(庶子) would be deemed to be less noble than the eldest son. The hereditary king of the Zhou Dynasty was called the Son of Heaven, who was the political master of the world. And the throne and the position of the great lords would only be inherited by the eldest son of the eldest wife once the dominant character passed away. It is notable that the integrity and competence were not taken into account for selecting heads of all levels of power. In Half of Lifelong Romance, Shen Xiaotong(Shen Shijun's father) was of the higest rank of nobility in the Shen clan and his supremacy could be alloted to anyone at his disposal. A wife and a concubine of Shen Xiaotong were respectively described, one of them was lawfully wedded wife and the other one was given the support of concubinage. The male master of the story is the eldest son of lawful spouse, he was attempting to earn a tint of fortune in Shanghai. Therefore, it is described in the plot that when Shen Xiaotong was seriously ill, he urgently summoned Shen Shijun to return home, and because Shijun could be regarded as "嫡长子", he entrusted "reliance" to Shijun, which also highlights the clout of "patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" in Chinese culture. (Zhao 2012, 132)

'''2.2 Chen Ping(Sanmao)--Soul with the Wind'''

Sanmao, also known as Chen Ping, is a trailblazing writer in China. Her lifelong pursuit of freedom is the miracle of a unique life, the mighty rivers and vast landscapes she talked about in the books serve as the console for thousands of readers to escapism. The cultural elements defined by diversified Chinese traditions could also be identified in ''The Rainy Season Will Never Come''(《雨季不再来》), which includes her pure love and sincere attitude towards people. And the concept is in close alignment with the "universal love" of Mohism, which advocates the practice of love without distinctions despite the respective relationship and origins. Equal care for others, the quality of tolerant and inclusive mentality of Sanmao could always be found in her other articles. (Yu 2017, 33)

'''2.3 Lin Yihan--Fang Siqi, Paradise Lost hidden in Each Ripped Square Sheets'''

Lin Yihan, a Chinese female writer, inherits the writing style of Zhang Ailing and employs differentiated methods to render unusual sentiment. The inanimated language use framing individual trama boldly conceals agonizing excruciation, wind and rain leaves no trace but the massive edification. Her work ''Fang Siqi's First Love Paradise''(《房思琪的初恋乐园》) tells the story of a girl named Fang Siqi being seduced for a long time by Li Guohua who was a teacher of a private school. The work makes inquiries for women’s right of speech. It describes the female image fallen in line with the patriarchal culture in Taiwan, pointing out that the patriarchal culture is subtly disciplining women in the name of literature and education by its fabricated moral conventions. For example, the elder sister Yi Wen, though highly educated with enjoyment of intellectual pursuit, found her husband's family which was of the same descent as hers still forced her to bring them a son (in traditional Chinese thinking. Women are still fertility tools and believed to bore “promising” pregnancy with a definite son); The insult that Siqi received turned the traditional concept (even if it was not the victim's fault at all) into a piece of "rotten meat" (the crime of erosion was cleverly attributed to the victim). (Wang 2002, 4)

'''2.4 Li Bihua--Ghost(Unchained Empathy)'''

Li Bihua, a Chinese writer, treats challenging materials with grace and poignancy, luxuriating in her own eccentric wording, twisted plot, evocative emotions. Although the content of her work ''Dumplings''(《饺子》)is quirky and daring with novelettish feelings, it is a distinctive literary "step" to use the food of Hong Kong, Macao and Guangdong as the bait to "trick" the reader to the emotional climax. When the readers understand the truth, they are already trapped in it. Shrimp dumplings, egg tarts, marinated duck, Chinese bird's nest cake, these delicacies with Chinese regional characteristics symbolize not only the basis of the plot but also the carrier of culture. (Jia 2004, 103)

'''3. Summary'''

Despite only one different Chinese character("literature" stands for "文学" and "culture" refers to "文化"), "literature" and "culture" encapsulates the zeitgeist of different eras. Feminist criticism and theoretical discourse enlightenment in the scope of Chinese culture to varying degrees can be gleaned from the four female writers with their particularized narratives introduced in this article, which could facilitate related progress. Besides, we surely could witness the renewed transformation in the connotation of Chinese culture adapting to the ongoing advance of feminist literature. It could also be certified that the interpretation of female writers pursue gender liberation as well as equality and freedom. Winston Churchill once said, "A culture that does not accompany its strength may face cultural extinction." Perhaps culture itself does not have to incorporate into the traditional discourse. However, it could not be built upon the cornerstone of the innocent and blameless lives while there would be someone shouting "the unbearable lightness of being". (Lin 2004, 139)

'''Terms and Expressions:'''

''Dream of Genius'' 《天才梦》

''Half of Lifelong Romance'' 《半生缘》

May Fourth Movement 五四运动

Patriarchal clan system(the feudal clan system) 宗法制

Patriarchal chiefs system 嫡长子继承制

patriarchal culture 父权文化

the Son of Heaven 天子

concubine 妾；姨太太

''The Rainy Season Will Never Come'' 《雨季不再来》

Universal love 兼爱

Mohism 墨家思想

''Fang Siqi's First Love Paradise'' 《房思琪的初恋乐园》

''Dumplings'' (饺子》

Shrimp dumplings 虾饺

egg tarts 蛋挞

marinated duck 卤水鸭

Chinese bird’s nest cake 燕窝糕

'''Questions:'''

1. After reading this article, what's your personal view on the development of Chinese culture and women's literature?

2. Do you think Chinese female literature has a positive impact on breaking down the dregs of feudal culture(the negative effect not the positive ones)?

3. What do "patriarchal clan system" and "patriarchal chiefs system" have in common?

4. How would you rate each of the female writers featured in this article?

5. Do you have different thoughts on promoting Chinese culture through literary works? (creative measures are largely welcomes!)

'''Answers:'''

1. They could supplement each other with the parts of significance and they could contribute to the common development of each other.

2. Yes sure it is. As there exists the underlying need for women writers to foster pacesetters in terms of illuminating the harsh reality, we need to know what should be put in place once the obsolete ones face their time.

3. The two concepts share the same matrix of "the eldest male 'brought' by the legally married wife(also the eldest) could be rewarded with dominance.

4. No, I'm afraid I would not rate each of them as I'm not qualified to do that. So sorry.

5. Social platform, media, live-streaming, drama(the collision between the modern times and the past traditions).

'''References:'''

'''女性作家专题：张爱玲、陈平（三毛）、林奕含及李碧华'''

廖文垚

'''1.引言'''

文学作品与文化有着密不可分的关系，一方面，文学作品的本质在于其或通过特定的情节传递出文化特质，或使用语言符号作为载体呈现出人类在现代性变革中的复杂时空感知，而“现代性是一种关于时间的文化”，伴随着物理层面上时间轴的延长，空间场所的不断扩张，一种继生于存在体验、精神超脱的复杂织体与描述到的文化历史、宗教观念相有关联。另一方面，文化必会影响文学作品的撰写与发展，设置特定的“文化景观”，而影响文化世界的展开以及个人体验形式的回溯展望。以古贯今，中国女性文学历史渊源极深，发展长路漫漫，女性作家跃然而起，与男性作家一样，挥笔毫墨间，钻仰中华文化之渊秘，涣尔书陈底蕴之冰开。女性介入历史性书写，建构自身话语体系，能够体现出不同时期中国女性文学文本批评文化，更有适时女性于挣扎中寻找自我、追求新时代性别平等思潮文化的复杂要求，这也是中国文化的组成部分，而接下来，笔者会介绍四位女性作家以及其中的文化元素和内涵，进而研讨女性文学作品中彰显的中国文化要素。(Wang 2006, 78)

'''2.四位女作家介绍及涉及文化要素'''

具体内容详见下文。

'''2.1 张爱玲——“天才传奇梦”'''

张爱玲是20世纪中国最具影响力的女作家之一。而这一节将首要谈到“文化研究”与“文化身份”，后者依托后殖民理论析述，移用于前者中去（前者是一类理论话语），从文艺美学的层面来看，即为肯定研究主体“存在即合理”以及自身具备的美学价值；从文学研究的外延层面来看，是为语境式研究和文本式研究相结合的。“文化身份”诉诸包含文学和文化研究中的民族本质特征和带有民族印记的文化本质特征。该点在张爱玲的作品《半生缘》中亦有体现：彼时新思潮旧学识交织纷杂，封建意识盘踞不下，而西方思想已然侵染其中。故事的女主人翁——顾曼桢，其“文化身份”具有不确定性以及一定程度上的矛盾性。在思想上，顾曼桢经受“五四时代”精神洗礼，抗拒母亲自以为“义”的婚事（即与豫瑾——她姐姐的未成“初恋”同婚），坚守着“婚恋自由”“婚娶自主”的追求而选择沈世钧，在宗法人伦视角下传统母女关系的多重性表现中，该角色超越传统女儿形象建构；然而在后续的情节发展中，主人公的“文化身份”又显现出“矛盾”底色来，“自由”与“人伦”，是非“鱼与熊掌焉”？女主角毅然踏入与强奸犯的婚姻中，曲折妥协的“自戕”加深了悲惨的论调，“在人伦情感的掩护下,女儿对情感的追求就容易滑入宗法等级下的没有自我的深渊。张爱玲也正是借了这个人物，揭示了即使已有”德先生“”赛先生“旗帜高悬于青天之上，仍裹挟于传统宗法文化洪流中的女性文化发展的矛盾性。(Liu 2000, 12)

正如前文所述，作品的历史背景展现的是一个既无法摆脱虬扎良久的过往固有规制体系，又无法根彻地“胎生”出一套现代文明的社会体制的“光怪陆离”的时代；在张爱玲的《半生缘》这部作品中，传统的“宗法人伦”观念文化得以窥见。“宗法制”，“嫡长子继承制”则是“缘”中的关键词：“嫡长子继承制”是指古代统治者实行一夫多妻制，多妻中有一个正妻，即“嫡”，其子为嫡子；其他妻子为”庶“，其子为庶子。按照周制，最高统治者称为天子，统治天下的土地和臣民，继承王位的，也必须是嫡长子，至于贤良与否，并不作考究。在《半生缘》这部作品中，沈啸桐为权力的下发人，上位者；书中只写了两位地位相当的夫人——正房沈夫人以及“二房”“鼓楼那个”；故事的男主人翁是大房沈夫人的儿子，年纪是在社会上初闯荡着的。如此一来，在文中就有描述，在沈啸桐病重时，急召沈世钧返家，并正因世钧是正房所出——归属于“嫡长子”范畴，便将“倚靠”托给了世钧，这样的情节并也凸显出“嫡长子继承制”在文化中之根基久深来。(Zhao 2012, 132)

'''2.2 陈平（三毛）——“自由的灵魂”'''

三毛，又名陈平，中国著名女作家。她一生追求自由，是独特生命的奇迹；她笔下走过的万水千山，是以给万千读者聊以生命的慰藉。当然，在她的《雨季不再来》一书中，也能察觉到部分中华文化元素的体现，包括其博爱且真挚的思想情感，这与墨家思想中的“兼爱”不谋而合，后者倡导无差别地爱一切人，不分亲疏贵贱，平等地关爱他人（从三毛其他地作品里也能看到三毛宽容、包容地心态是时常存在着的）。(Yu 2017, 33)

'''2.3林奕含——“房思琪，拆开的每一个格子里都是失掉的乐园”'''

林奕含，中国女作家，文风承接“张派”，雕词论调不走寻常路，乖拗的文字外壳下是一层焦冷捻湿的伤痛，风雨虽无飘荡，却也是漫山遍野的今天和琳琅。她的作品《房思琪的初恋乐园》通过讲述少女房思琪被补习班教师李国华长期诱奸一事，叩问情节背后隐藏的话语权问题。小说描写了在台湾社会男权文化治下的女性群像,指出男权文化正以其编造的道德惯例、正以文学和教养的名义潜移默化地规训女性。例如，书中的伊纹姐姐，即使受过了高等教育，寻得的夫家也是一介清流，仍要逼迫着生贵子（中国传统思想，女人仍旧是生育工具，所承诺的只有大着的肚子和必须生下的男胎）；思琪受到的侮辱，给传统观念（即使完全不是受害者的错）下拧成了一坨烂肉（糜烂的罪孽被巧言令色地嫁祸给了受害者）。 (Wang 2002, 4)

'''2.4 李碧华——“人鬼情未了”'''

李碧华，中国作家，笔风辛辣，文力凄艳悲凉，情节诡谲丛生，鬼魅无影。她的作品《饺子》中虽内容诡丽阴冷，情感黏滞，但极有特色地将港澳及广东地区的食物作“诱引”，一步步将读者“骗”到情感高潮处，待醒悟已是浑然困宥于其中矣。虾饺、蛋挞、卤水鸭、燕窝糕，这些具有中国地区特色的美食，既成为了情节的依托，也作为了文化的载体。(Jia 2004, 103)

'''3.结语'''

“文学”与“文化”，虽只有一字之差，但都反映了时代下的精华。文中介绍的四位女作家，虽文风有所不同，但都不同程度地反映了中华文化范围内女性主义批评思潮与理论话语启蒙，而这一进程虽仍在行进之中，但也形成一定态势。当然，我们更能看到在语境变迭发展下，在女性主义文学发展下的中华文化内涵发生了新的变化，也能看到女性文人追求性别解放、争取平等自由的诠释。丘吉尔说过：“不伴随力量的文化，到明天将成为灭绝的文化。”，或许，文化不必在于传统话语之“重”，只是，不能再踩踏在无辜的血肉冤魂之上，高喊“生命不能承受之轻”。(Lin 2004, 139)

'''问答中文原文：'''

1.看完本文后，你对於中国文化及女性文学发展有什么样的看法吗？

2.你是否认为中国女性文学对破除封建文化糟粕具有积极影响？

3.“宗法制”和“嫡长子继承制”是什么意思？

4.给本文中涉及到的女性作家打分的话，你每个会打几分？

5.对于以文学作品宣扬中华文化，你是否有不一样的见解？（可以谈谈具体措施）

1. 他们相互补充，并为彼此的共同发展做出贡献。

2. 当然。由于需要女性作家先行揭示（以文笔）残酷现实，我们必须破旧立新。

3. 这两个概念相同之处就是大房的长子一般能获得统治地位。

4. 不好意思，我觉得我还达不到能给她们打分的水平。

5. 社交平台、媒体、直播、戏剧（现代与过去传统的碰撞）。

I hereby guarantee that I have not used the help of AI to write my final paper in this course.

User:Liao Wenyao

2024-12-31T03:53:36Z

Liao Wenyao:

My name is Liao Wenyao and I love eating fruits. I used to be a student and I am still a student for now. I major in English interpretation now and the official name for my master degree is Master of Translation and Interpretation. The college that I get enrolled in is Hunan Normal University. I have no pets and am not allergic to anything. I love playing badminton but I haven’t played it for quite a loooooong time. I might have obsessive-compulsive disorder and we all wish we can make great academic achievement and may the world in peace. See it, say it, sorted.

'''''Tips: From November 10th to December 5th, I learned the lyrics of a song by one line per day, and then I asked AI for the grammar, vocabularies, translation and the pronunciation of them.'''''

'''2024.11.10''' I learned with AI for "J'ai touché l'enfance de mes doigts encore feutrés（中文：我用湿漉漉的手指触摸了童年）"

'''2024.11.11''' I learned with AI for "Ressassé cette histoire comme si je l'avais recontrée（中文：重讲这个故事，就好像我又碰到她了一样）"

'''2024.11.12''' I learned with the help of AI for "La vraie belle nouveauté c'est celle qui ne vieillit pas（中文：真正美丽的新奇玩意儿永不过时）"

'''2024.11.13''' I learned with the help of AI for "Celle qui nous garde les ciels pastels l'orage quand il fait froid（中文：当凛冽的暴风雨来临时，让我们保留柔软的天空）"

'''2024.11.14''' I learned with the help of AI for "Je laisse aux autres les demain（中文：把明天留给别人）"

'''2024.11.15''' I learned with the help of AI for "Moi je prends que les maintenant（中文：我只想珍惜当下）"

'''2024.11.16''' I learned with the help of AI for "Si c'est pou penser la fin（中文：若要考虑未来的结局）"

'''2024.11.17''' I learned with the help of AI for "Compte sur mes rêves d'enfant（中文：那就让我仰赖童年的梦想）"

'''2024.11.18''' I learned with the help of AI for "Petite je fuis le tempts déja peur des convenances（中文：小时候，时间给我逃了脱，已然使我害怕礼节）"

'''2024.11.19''' I learned with the help of AI for "Et la vraie étoffe des gens c'est fou tout ce qui'ils pensent（中文：而人们所有的真实，他们想的一切都是疯狂的）"

'''2024.11.20''' I learned through AI for "C'est triste toute cette méfiance faudrait suivre l'aivon en papier（中文：可悲啊，所有这些猜疑，应该跟着纸飞机走）"

'''2024.11.21''' I learned through AI for "Hurler pour s'envoler surtout quand on pense au passé（中文：尖叫着飞翔着，尤其是当你想回到过去时）"

'''2024.11.22''' I learned through AI for "J'regrette mon adolescence（中文：我后悔我的青春期）"

'''2024.11.23''' I learned through AI for "Et pourtant c'est pas fini（中文：但它还没有结束）"

'''2024.11.24''' I learned through AI for "Quand t'es petit y'a la méfiance（中文：当你还小，就会对别人猜猜点点的)"

'''2024.11.25''' I learned through AI for "Puis après vient le mépris（中文：然后又轻蔑）"

'''2024.11.26''' I learned through AI for "Y'a des jours ou ca va mal（中文：有时候事情总不对）"

'''2024.11.27''' I learned through AI for "C'est que t'oublies quand ca va bien（中文：只要你什么时候好就忘了）"

'''2024.11.28''' I learned thorugh AI for "Les adultes ils crient ils ralent（中文：大人们又叫又哭的）”

'''2024.11.29''' I learned through AI for “Disent des choses qui servant à rien （中文：说些没用的话）”

'''2024.11.30''' I learned through Ai for “Tu passe ta vie dans le passé（中文：人的一生都在进行过去时）

'''2024.12.1''' I learned the “Et pourtant c'est pas si beau（中文：但并不总那么美丽）”

'''2024.12.2''' I learned the “Tu te souviens des jours usés ?（中文：你还记得过去的日子吗？）” with AI

'''2024.12.3''' I learned the “Des mois de mai, des batailles d'eau（中文：五月的水战）” with AI

'''2024.12.4''' I learned the “Faut s'y faire t'es juste grand（中文：你得习惯，只不过是个子比别人高了一些而已）”and “Y'en aura pleins tu verras（中文：会有很多你能看到的）” with AI

'''2024.12.5''' I learned the “Des belles choses, des bons moments（中文：美好的事物啊美好的时光）” and “Des belles choses, des bons moments（中文：当一切结束，你又会后悔）” with AI

'''Note: I decide to learn something else~''''I would like to learn a French poem with the magical assistance of A''I(the poem is called Pour Demian)''.''

'''2024.12.6''' I learned the "Vous que le printemps opéra(奇迹春天唾手而成魔术)" with AI;

'''2024.12.7''' I learned the "Miracles ponctuez ma stance(请替我的诗章断句分行)" with AI;

'''2024.12.8''' I learned the "Mon esprit épris du départz(我的迷恋于出走的思想)" with AI;

'''2024.12.9''' I learned the "Dans un rayon soudain se perd(陡然间消失于一线光亮)" with AI;

'''2024.12.10''' I learned the "Perpétué par la cadence(又由光的节奏频频延续)" with AI;

'''2024.12.11''' I learned the "La Seine au soleil d'avril danse(塞纳河荡漾于四月艳阳)" with AI;

'''2024.12.12''' I learned the "Comme Cécile au premier bal(像塞西尔首次翩然领舞)" with AI;

'''2024.12.13''' I learned the "Ou plutôt roule des pépites(又似卷拂起细密的金砾)" with AI;

'''2024.12.14''' I learned the "Vers les ponts de pierre ou les cribles(涌向那道道石桥或筛网)" with AI;

'''2024.12.15''' I learned the "Charme sûr La ville est le val(耐看的幻美城池化溪谷)" with AI;

'''2024.12.16''' With the help of AI, I learned the "Les quais gais comme en carnaval(左右堤岸节日般狂欢)" .

'''2024.12.17''' With the help of AI, I learned the "Vont au devant de la lumière(一起拥戴那光明远去)".

'''2024.12.18''' With the help of AI, I learned the "Elle visite les palais(她驾临的重重宫殿)".

'''2024.12.19''' With the help of AI, I learned the "Et les roses du jour aux vitres(和窗扇掩映的盛开玫瑰)".

'''Female Writers: Zhang Ailing, Chen Ping(Sanmao), Lin Yihan and Li Bihua'''

Written by Liao Wenyao(Rose)

'''1. Introduction'''

Literature is closely related to culture. In the first place, the nature of literary works lies in its capacity to convey the unique essence of certain culture through specific plots. It could also capture the complexities of human experiences shaped by transcendental concepts of time and space in the context of modernity transformation with the usage of language as the vehicle. "Modernity is a culture over time", as the timeline lengthens and the space witnesses continuous dilation from the sheer perspective of physics, an intricate self inherited from the previous existence and spiritual detachment becomes intertwined with the culture as well as history and religious notions that have been portrayed. On the other side of the coin, culture always has a profound impact on the production and development of literary works. The cultural setting would often influence the expansion of the cultural world and the retrospective prospect of individual episodes. From ancient civilizations to modern times, the female literary tradition in China has deep historical roots. Female literature that heralds women's efforts to strive for deserved status notes slow progress and the state of fragility. And female writers, as other male writers, delve into the most speculative and enigmatic appreciation of Chinese culture, unravel evolving understanding of human nature. Therefore, women's engagement in literature production and their own discourse system could reflect female literary criticism culture in different periods. Those endeavors mirrors the impenetrable requirements of women's pursuit of self-discovery and gender equality that has been regarded as the ideological trend culture in the given era. The rumination also served as an integral part of Chinese culture. In the following text, four female writers and the involved cultural components and connotations will be introduced. The discussion of the elements of Chinese culture would be manifested in female literary works. (Wang 2006, 78)

'''2. Four Female Writers and the Involved Chinese Culture'''

The specifics will be given below.

'''2.1 Zhang Ailing(张爱玲)--A Dream of Genius and Legend(''Dream of Genius''(《天才梦》) is also one of her literary work)'''

Zhang Ailing is one of the most influential female Chinese writers in the 20th century. And for this part, the primary focus will be given to "cultural research" and "cultural identity". The latter is utilized for the application of the former concept(a type of theoretical discourse) based on post-colonial theory analysis, representing that "reason has always existed in a reasonable form in terms of research subjects coupled with their aesthetic values" from the perspective of literary and artistic aesthetics. It is a mixture of contextual research while adopting the viewpoint of extended literary research. "Cultural identity" epitomizes the requisite qualities of one certain nation across literary and cultural studies and the essential characteristics of the exemplified cultural elements. Moreover, what has been explained before could be found in Zhang Ailing's work ''Half of Lifelong Romance''(《半生缘》). Back in that time, the renewed ideological trend integrated with timeworn comprehension that the feudal consciousness marked the deep-rooted conceptual discourse. Observations from Western intellectuals permeated every level of the ideological system. Gu Manzhen, the heroine of the story, had uncertain and contradictory cultural identity to some extent. With the experience of the spiritual trials of the "May Fourth Movement", she resisted her mother's self-righteous arrangement (Gu would have been assigned to marry her sister's "crush" according to her mother's pathway to wealth), showcasing her pursuit of "freedom in dating and marriage choice" and "active position in marriage" that led to her selection of Shen Shijun(the main male character). The depiction of Gu went far beyond the traditional image of "daughter" in conventional Chinese storytelling as seen in the heterogeneous display of mother-daughter bond from the perspective of patriarchal clan and human relations. However, the "cultural identity" of the protagonis clashed with the reality which resulted in identity confusion and internal conflict in the subsequent plots. "To be or not to be(audience or obedience)?", was indeed a question for the characters, which could be compared with "You can’t have your cake and eat it too". What’s more, Gu resolutely plunged into the marriage with her brother-in-law who conspired along with Gu Manlu(Gu Manzhen's elder sister) to sexually assault Manzhen, and the tortuous compromise of "self-harm" deteriorated into the tragedy loomed ahead. The daughter's chasing for unfettered emotional release shifted towards the absence of self-awareness that had been associated with patriarchal hierarchy under the guise of domestic interactions. It was also the delineation of the character that Zhang Ailing revealed the contradiction of the development of female culture in the torrent of traditional patriarchal culture even though the perception of "democracy" and "science" was promulgated. (Liu 2000, 12)

As what has been mentioned above, the historical background of the work demonstrates a "grotesque" era in which the endogenous regulatory system that has been existed from the past hundred years engaged deeply with aspects of the social mobility. And the entrenched institutions failed to promptly "give birth to" a modern as well as civilized social system across the board. The traditional "patriarchal clan" concept culture was also articulated In Zhang Ailing's ''Half of Lifelong Romance''. "Patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" are the key words in the work: "Patriarchal chiefs system" indicates that the greatest authority and property would be passed to the first-born son (嫡长子) delivered by the eldest wife or a concubine while following the institution of polygamy in the Chinese imperial system. Under the circumstance, and the rest of the sons(庶子) would be deemed to be less noble than the eldest son. The hereditary king of the Zhou Dynasty was called the Son of Heaven, who was the political master of the world. And the throne and the position of the great lords would only be inherited by the eldest son of the eldest wife once the dominant character passed away. It is notable that the integrity and competence were not taken into account for selecting heads of all levels of power. In Half of Lifelong Romance, Shen Xiaotong(Shen Shijun's father) was of the higest rank of nobility in the Shen clan and his supremacy could be alloted to anyone at his disposal. A wife and a concubine of Shen Xiaotong were respectively described, one of them was lawfully wedded wife and the other one was given the support of concubinage. The male master of the story is the eldest son of lawful spouse, he was attempting to earn a tint of fortune in Shanghai. Therefore, it is described in the plot that when Shen Xiaotong was seriously ill, he urgently summoned Shen Shijun to return home, and because Shijun could be regarded as "嫡长子", he entrusted "reliance" to Shijun, which also highlights the clout of "patriarchal clan system(the feudal clan system)" and "patriarchal chiefs system" in Chinese culture. (Zhao 2012, 132)

'''2.2 Chen Ping(Sanmao)--Soul with the Wind'''

Sanmao, also known as Chen Ping, is a trailblazing writer in China. Her lifelong pursuit of freedom is the miracle of a unique life, the mighty rivers and vast landscapes she talked about in the books serve as the console for thousands of readers to escapism. The cultural elements defined by diversified Chinese traditions could also be identified in ''The Rainy Season Will Never Come''(《雨季不再来》), which includes her pure love and sincere attitude towards people. And the concept is in close alignment with the "universal love" of Mohism, which advocates the practice of love without distinctions despite the respective relationship and origins. Equal care for others, the quality of tolerant and inclusive mentality of Sanmao could always be found in her other articles. (Yu 2017, 33)

'''2.3 Lin Yihan--Fang Siqi, Paradise Lost hidden in Each Ripped Square Sheets'''

Lin Yihan, a Chinese female writer, inherits the writing style of Zhang Ailing and employs differentiated methods to render unusual sentiment. The inanimated language use framing individual trama boldly conceals agonizing excruciation, wind and rain leaves no trace but the massive edification. Her work ''Fang Siqi's First Love Paradise''(《房思琪的初恋乐园》) tells the story of a girl named Fang Siqi being seduced for a long time by Li Guohua who was a teacher of a private school. The work makes inquiries for women’s right of speech. It describes the female image fallen in line with the patriarchal culture in Taiwan, pointing out that the patriarchal culture is subtly disciplining women in the name of literature and education by its fabricated moral conventions. For example, the elder sister Yi Wen, though highly educated with enjoyment of intellectual pursuit, found her husband's family which was of the same descent as hers still forced her to bring them a son (in traditional Chinese thinking. Women are still fertility tools and believed to bore “promising” pregnancy with a definite son); The insult that Siqi received turned the traditional concept (even if it was not the victim's fault at all) into a piece of "rotten meat" (the crime of erosion was cleverly attributed to the victim). (Wang 2002, 4)

'''2.4 Li Bihua--Ghost(Unchained Empathy)'''

Li Bihua, a Chinese writer, treats challenging materials with grace and poignancy, luxuriating in her own eccentric wording, twisted plot, evocative emotions. Although the content of her work ''Dumplings''(《饺子》)is quirky and daring with novelettish feelings, it is a distinctive literary "step" to use the food of Hong Kong, Macao and Guangdong as the bait to "trick" the reader to the emotional climax. When the readers understand the truth, they are already trapped in it. Shrimp dumplings, egg tarts, marinated duck, Chinese bird's nest cake, these delicacies with Chinese regional characteristics symbolize not only the basis of the plot but also the carrier of culture. (Jia 2004, 103)

'''3. Summary'''

Despite only one different Chinese character("literature" stands for "文学" and "culture" refers to "文化"), "literature" and "culture" encapsulates the zeitgeist of different eras. Feminist criticism and theoretical discourse enlightenment in the scope of Chinese culture to varying degrees can be gleaned from the four female writers with their particularized narratives introduced in this article, which could facilitate related progress. Besides, we surely could witness the renewed transformation in the connotation of Chinese culture adapting to the ongoing advance of feminist literature. It could also be certified that the interpretation of female writers pursue gender liberation as well as equality and freedom. Winston Churchill once said, "A culture that does not accompany its strength may face cultural extinction." Perhaps culture itself does not have to incorporate into the traditional discourse. However, it could not be built upon the cornerstone of the innocent and blameless lives while there would be someone shouting "the unbearable lightness of being". (Lin 2004, 139)

'''Terms and Expressions:'''

''Dream of Genius'' 《天才梦》

''Half of Lifelong Romance'' 《半生缘》

May Fourth Movement 五四运动

Patriarchal clan system(the feudal clan system) 宗法制

Patriarchal chiefs system 嫡长子继承制

patriarchal culture 父权文化

the Son of Heaven 天子

concubine 妾；姨太太

''The Rainy Season Will Never Come'' 《雨季不再来》

Universal love 兼爱

Mohism 墨家思想

''Fang Siqi's First Love Paradise'' 《房思琪的初恋乐园》

''Dumplings'' (饺子》

Shrimp dumplings 虾饺

egg tarts 蛋挞

marinated duck 卤水鸭

Chinese bird’s nest cake 燕窝糕

'''Questions:'''

1. After reading this article, what's your personal view on the development of Chinese culture and women's literature?

2. Do you think Chinese female literature has a positive impact on breaking down the dregs of feudal culture(the negative effect not the positive ones)?

3. What do "patriarchal clan system" and "patriarchal chiefs system" have in common?

4. How would you rate each of the female writers featured in this article?

5. Do you have different thoughts on promoting Chinese culture through literary works? (creative measures are largely welcomes!)

'''Answers:'''

1. They could supplement each other with the parts of significance and they could contribute to the common development of each other.

2. Yes sure it is. As there exists the underlying need for women writers to foster pacesetters in terms of illuminating the harsh reality, we need to know what should be put in place once the obsolete ones face their time.

3. The two concepts share the same matrix of "the eldest male 'brought' by the legally married wife(also the eldest) could be rewarded with dominance.

4. No, I'm afraid I would not rate each of them as I'm not qualified to do that. So sorry.

5. Social platform, media, live-streaming, drama(the collision between the modern times and the past traditions).

'''References:'''

'''女性作家专题：张爱玲、陈平（三毛）、林奕含及李碧华'''

廖文垚

'''1.引言'''

文学作品与文化有着密不可分的关系，一方面，文学作品的本质在于其或通过特定的情节传递出文化特质，或使用语言符号作为载体呈现出人类在现代性变革中的复杂时空感知，而“现代性是一种关于时间的文化”，伴随着物理层面上时间轴的延长，空间场所的不断扩张，一种继生于存在体验、精神超脱的复杂织体与描述到的文化历史、宗教观念相有关联。另一方面，文化必会影响文学作品的撰写与发展，设置特定的“文化景观”，而影响文化世界的展开以及个人体验形式的回溯展望。以古贯今，中国女性文学历史渊源极深，发展长路漫漫，女性作家跃然而起，与男性作家一样，挥笔毫墨间，钻仰中华文化之渊秘，涣尔书陈底蕴之冰开。女性介入历史性书写，建构自身话语体系，能够体现出不同时期中国女性文学文本批评文化，更有适时女性于挣扎中寻找自我、追求新时代性别平等思潮文化的复杂要求，这也是中国文化的组成部分，而接下来，笔者会介绍四位女性作家以及其中的文化元素和内涵，进而研讨女性文学作品中彰显的中国文化要素。(Wang 2006, 78)

'''2.四位女作家介绍及涉及文化要素'''
具体内容详见下文。

'''2.1 张爱玲——“天才传奇梦”'''
张爱玲是20世纪中国最具影响力的女作家之一。而这一节将首要谈到“文化研究”与“文化身份”，后者依托后殖民理论析述，移用于前者中去（前者是一类理论话语），从文艺美学的层面来看，即为肯定研究主体“存在即合理”以及自身具备的美学价值；从文学研究的外延层面来看，是为语境式研究和文本式研究相结合的。“文化身份”诉诸包含文学和文化研究中的民族本质特征和带有民族印记的文化本质特征。该点在张爱玲的作品《半生缘》中亦有体现：彼时新思潮旧学识交织纷杂，封建意识盘踞不下，而西方思想已然侵染其中。故事的女主人翁——顾曼桢，其“文化身份”具有不确定性以及一定程度上的矛盾性。在思想上，顾曼桢经受“五四时代”精神洗礼，抗拒母亲自以为“义”的婚事（即与豫瑾——她姐姐的未成“初恋”同婚），坚守着“婚恋自由”“婚娶自主”的追求而选择沈世钧，在宗法人伦视角下传统母女关系的多重性表现中，该角色超越传统女儿形象建构；然而在后续的情节发展中，主人公的“文化身份”又显现出“矛盾”底色来，“自由”与“人伦”，是非“鱼与熊掌焉”？女主角毅然踏入与强奸犯的婚姻中，曲折妥协的“自戕”加深了悲惨的论调，“在人伦情感的掩护下,女儿对情感的追求就容易滑入宗法等级下的没有自我的深渊。张爱玲也正是借了这个人物，揭示了即使已有”德先生“”赛先生“旗帜高悬于青天之上，仍裹挟于传统宗法文化洪流中的女性文化发展的矛盾性。(Liu 2000, 12)

正如前文所述，作品的历史背景展现的是一个既无法摆脱虬扎良久的过往固有规制体系，又无法根彻地“胎生”出一套现代文明的社会体制的“光怪陆离”的时代；在张爱玲的《半生缘》这部作品中，传统的“宗法人伦”观念文化得以窥见。“宗法制”，“嫡长子继承制”则是“缘”中的关键词：“嫡长子继承制”是指古代统治者实行一夫多妻制，多妻中有一个正妻，即“嫡”，其子为嫡子；其他妻子为”庶“，其子为庶子。按照周制，最高统治者称为天子，统治天下的土地和臣民，继承王位的，也必须是嫡长子，至于贤良与否，并不作考究。在《半生缘》这部作品中，沈啸桐为权力的下发人，上位者；书中只写了两位地位相当的夫人——正房沈夫人以及“二房”“鼓楼那个”；故事的男主人翁是大房沈夫人的儿子，年纪是在社会上初闯荡着的。如此一来，在文中就有描述，在沈啸桐病重时，急召沈世钧返家，并正因世钧是正房所出——归属于“嫡长子”范畴，便将“倚靠”托给了世钧，这样的情节并也凸显出“嫡长子继承制”在文化中之根基久深来。(Zhao 2012, 132)

'''2.2 陈平（三毛）——“自由的灵魂”'''
三毛，又名陈平，中国著名女作家。她一生追求自由，是独特生命的奇迹；她笔下走过的万水千山，是以给万千读者聊以生命的慰藉。当然，在她的《雨季不再来》一书中，也能察觉到部分中华文化元素的体现，包括其博爱且真挚的思想情感，这与墨家思想中的“兼爱”不谋而合，后者倡导无差别地爱一切人，不分亲疏贵贱，平等地关爱他人（从三毛其他地作品里也能看到三毛宽容、包容地心态是时常存在着的）。(Yu 2017, 33)

'''2.3林奕含——“房思琪，拆开的每一个格子里都是失掉的乐园”'''
林奕含，中国女作家，文风承接“张派”，雕词论调不走寻常路，乖拗的文字外壳下是一层焦冷捻湿的伤痛，风雨虽无飘荡，却也是漫山遍野的今天和琳琅。她的作品《房思琪的初恋乐园》通过讲述少女房思琪被补习班教师李国华长期诱奸一事，叩问情节背后隐藏的话语权问题。小说描写了在台湾社会男权文化治下的女性群像,指出男权文化正以其编造的道德惯例、正以文学和教养的名义潜移默化地规训女性。例如，书中的伊纹姐姐，即使受过了高等教育，寻得的夫家也是一介清流，仍要逼迫着生贵子（中国传统思想，女人仍旧是生育工具，所承诺的只有大着的肚子和必须生下的男胎）；思琪受到的侮辱，给传统观念（即使完全不是受害者的错）下拧成了一坨烂肉（糜烂的罪孽被巧言令色地嫁祸给了受害者）。 (Wang 2002, 4)

'''2.4 李碧华——“人鬼情未了”'''
李碧华，中国作家，笔风辛辣，文力凄艳悲凉，情节诡谲丛生，鬼魅无影。她的作品《饺子》中虽内容诡丽阴冷，情感黏滞，但极有特色地将港澳及广东地区的食物作“诱引”，一步步将读者“骗”到情感高潮处，待醒悟已是浑然困宥于其中矣。虾饺、蛋挞、卤水鸭、燕窝糕，这些具有中国地区特色的美食，既成为了情节的依托，也作为了文化的载体。(Jia 2004, 103)

'''3.结语'''
“文学”与“文化”，虽只有一字之差，但都反映了时代下的精华。文中介绍的四位女作家，虽文风有所不同，但都不同程度地反映了中华文化范围内女性主义批评思潮与理论话语启蒙，而这一进程虽仍在行进之中，但也形成一定态势。当然，我们更能看到在语境变迭发展下，在女性主义文学发展下的中华文化内涵发生了新的变化，也能看到女性文人追求性别解放、争取平等自由的诠释。丘吉尔说过：“不伴随力量的文化，到明天将成为灭绝的文化。”，或许，文化不必在于传统话语之“重”，只是，不能再踩踏在无辜的血肉冤魂之上，高喊“生命不能承受之轻”。(Lin 2004, 139)

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Chinese Language and Culture 2024

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Liao Wenyao: /* 簽到 Here you can sign in behind the topic you want to present in class */

Welcome to Chinese Language and Culture 2024

THU (19:00-19:45,19:55-20:40,20:50-21:35) 至善楼105 MA2 (23级笔译口译 Translation & Interpretation) 中国语言文化 Chinese Language and Culture 2024, Textbook: Woesler 2024, 1 5.9., 2 12.9., 3 19.9., 4 26.9., 5 10.10., 6 17.10., 7 24.10., 8 31.10., 9 7.11., 10 14.11., 11 21.11., 12 28.11., 13 5.12., 14 12.12., 15 19.12., 16 26.12.

=簽到 Here you can sign in behind the topic you want to present in class=
*Yu Yi
*Memo
*Glen
*Liu Li
*Liu Zhuofan
*Drovan
*Wu Ziyi
*Andrew
*Wang Xuan
*Cynthia
*Wang Yan
*Doris
*Wu Jing
*Jennie
*Huang Qi
*Esther
*Xiao Feiyan
*He Chuwen
*Lyra
*Shu Lin
*Shirleen
*Tang Yuewei
*Zhou Xukai
*Eavan
*Long Jiayu
*Jiang Chenmei
*Lilian
*Jiao Mengting
*Sherry
*Le Yuxuan
*Lydia
*Wu Jiaying
*Cathy
*Jiang Yaping
*Sunny
*Li Jia
*Zoe
*Wang Yujiao
*Wendy
*Fu Xinke
*Finger
*Zeng Wenjing
*Zoey
*Chen Zilan
*Landy
*Yang Lingyue
*Yang Fan
*Liu Peinan
*Peter
*Pan Yilin
*ceci
*Chen Pingan
*Grace
*Huang Mengyan
*Mandy
*Rachel
*Guo Zibin
*Binbin
*Xiao Yixuan
*Zeng Xin
*Su Yi
*Zeng Man
*Emily
*Chen Mengzhu
*Chris
*Huang Zechen
*Zachary
*Liu Zhouli
*Kuang Jing
*Jin
*Tang Xinyan
*Estrella
*Peng Yingying
*Becca
*Ma Ruiqing
*Raymond
*Chen Guangzi
*Alan
*Hannah
*Tang Xinyu
*Zhou Ranran
*Shi Zhanning
*Wang Yue
*Hu Zetao
*Zhang Shuai
*Liu Zhehui
*Wang Xudong
*Zhou Jing
*Amy
*Zhang Yange
*Zhao Jing
*Winnie
*Liu Zeyu
*Liao Wenyao
1. Geographic Nature as a Basis for Cultural Development .. 16

2.
Aesthetic ideals and social customs: Chinese Marriage Customs ............................................................................. 21

3.
Aesthetic ideals and social customs: Habits, Ways of Contacting .......................................................................... 28

4.
Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan ......................................... 37

5.
Aesthetic ideals and social customs: Crying Marriage of Tujia ................................................................................... 46

6.
Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China ...................................... 60 (Cheng Linjia/Jason)

7.
Animals: Panda .................................................................. 68

8.
Architecture ....................................................................... 75

9.
Architecture: The Forbidden City .................................... 84

10.
Architecture: Four Famous Bridges ................................... 97

11.
Architecture: Four Great Pavilions .................................. 107

12.
Architecture: Shengjing Imperial Palace .......................... 118

13.
Architecture: Three Great Towers in China ..................... 125

14.
Architecture: Fengshui in Chinese Architecture .............. 138

15.
Army and weapons: Chinese Ancient Weapons ............... 147

16.
Army and weapons: Terracotta Army .............................. 155

17.
Astrology: Chinese Astrology .......................................... 162

18.
Astrology: Calendar, The 24 Solar Terms ........................ 169

19.
Astrology: Twelve Animals of the Chinese Zodiac .......... 178

20.
Beverages: Milk Tea ........................................................ 186 (Peng Lu/Julia)

21.
Beverages: Tea ................................................................. 193（Yang Fan/Shawn）

22.
Beverages: The Liquor Culture of Ancient China ............ 198（Liu Zhuofan/Drovan）

23.
Body movement performance: Chinese Lion Dancing .. 207

24.
Body movement performance: Stilts ................................ 211
25.
Body movement performance: Traditional Chinese Dance
6
......................................................................................... 217

26.
Chinese Writing: Ancient Writing and Painting Tool, Writing Brush ................................................................................ 223

27.
Chinese Writing: Calligraphy ........................................... 232

28.
Chinese Writing: The Evolution of Calligraphy ............... 238

29.
Chinese Writing: Chinese Characters ............................... 247

30.
Chinese Writing: Chinese Characters and Scripts ............ 260

31.
Clothing: Chinese Clothing .............................................. 267

32.
Clothing: Batik (Lanran) .................................................. 275

33.
Clothing: Cheongsam ....................................................... 285 (Tang Yuewei/ Eavan)

34.
Confucianism: Confucian Culture .................................... 293

35.
Confucianism: Chinese Traditional Culture-Five Constant Virtues .............................................................................. 307

36.
Confucianism: Classical Philosophy - Confucius and Confucianism ................................................................... 315

37.
Confucianism: Classical Philosophy - Reading The Analects ......................................................................................... 322

38.
Education: Ancient Chinese Education ............................ 332

39.
Education: Historical Figures, The Four Talented Women of Ancient China .................................................................. 343
40.
Education: Modern Chinese Education System ............... 353

41.
Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties .............................. 367（Hannah/Zhou Yicen）

42.
Education: Yuelu Academy (One of the Four Most Prestigious Academies) .................................................... 376

43.
Facial Make-up ................................................................ 386

44.
Facial Make-up: Cosmetics, Traditional Chinese Make-Up ......................................................................................... 393 (Li Xiaosu/Jacinda)

45.
Facial Make-up: Face Changing in Sichuan Opera .......... 409

46.
Fine Arts: Painting ........................................................... 418

47.
Fine Arts: Bada Shanren and Qi Baishi ............................ 423

48.
Fine Arts: Painting Riverside Scene at Tomb Sweeping Day ......................................................................................... 429

49.
Fine Arts: Seal-cutting ..................................................... 436
7

50.
Games: Go 围棋 ........................................................... 439 (Peng Yixin/ Eason)

51.
Games: Kite Flying .......................................................... 445 （Liu Huixuan/ Polly）

52.
Games: Mahjong: An Ancient Chinese card play ............ 452(Zeng Wenjing/Zoey)

53.
Garden Culture: Gardens ................................................. 480(Jiang Chenmei/Lilian)

54.
Garden Culture: Bonsai (Penjing) .................................. 486

55.
Garden Culture: The Summer Palace ............................... 493(Liu Zhehui/Mary)

56.
Garden Culture: Qingming Riverside Landscspe Garden 500 (Cai Yingchu/ Rachel)

57.
Gender: Wu Zetian: The Only Female Emperor of Imperial China ................................................................................ 509
(Zhou Ranran/Jerry)
58.
History: Carl and Cixi ...................................................... 521

59.
Interieur: The Folding Screen .......................................... 525

60.
Landscapes and Tourism: Four Buddhist Shrines ............ 534

61.
Landscapes and Tourism: Four State-Level Cultural Relics ......................................................................................... 545

62.
Landscapes and Tourism: Landscape, Five Famous Mountains ........................................................................ 555（Wu Jing/Jennie）

63.
Landscapes and Tourism: Mogao Grottoes ...................... 563

64.
Landscapes and Tourism: The Culture of Mount Tai ....... 576

65.
Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） ........................ 591

66.
Landscapes and Tourism: The Ancient Tea Horse Road .. 604

67.
Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties ................................................... 610

68.
Language: Chinese Language .......................................... 616

69.
Language: Chinese Dialects ............................................. 626 (Long Jiayu/Tara) (present first on Oct 10, Session 5)

70.
Language: Chinese Folk Argot ......................................... 635

71.
Literature: Ancient literature - Chinese Classical Fairy Tales ......................................................................................... 646

72.
Literature: Ancient literature - Chinese Mythology ......... 653

73.
Literature: Ancient literature - Classical Literature .......... 664

74.
Literature: Ancient Literature - Four satirical novels in ancient China ................................................................... 671

75.
Literature: Ancient literature: Four Folk Stories of Ancient
8
China
................................................................................ 680

76.
Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China ............................ 689

77.
Literature: Ancient Literature: The Classic of Mountains and Seas .................................................................................. 711

78.
Literature: Ancient literature: Yuefu................................. 727

79.
Literature: Premodern literature - China's Four Great Classical Novels .................................................................................. 734

80.
Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations ............... 741

81.
Literature: Premodern literature: Strange Stories from a Chinese Studio ................................................................. 747

82.
Literature: Premodern literature: Tang-Song.................... 755

83.
Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty ..................................... 783

84.
Literature: Modern Literature .......................................... 792

85.
Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) ....................................................................... 800

86.
Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy ............................................ 807

87.
Literature: Contemporary Literature ................................ 818(Chen Guangzi/Alan)

88.
Martial Arts: Huo Yuanjia ................................................ 823

89.
Martial Arts: Qigong ........................................................ 826

Martial Arts: Taiji (Tai Chi) Shadow Boxing ................... 831

91.
Martial Arts: Wushu ......................................................... 842

92.
Martial Arts: Frolics of the Five Animals (Wuqinxi) ....... 847

93.
Medicine: Traditional Chinese Medicine (TCM) ............. 857

94.
Medicine: TCM - Acupuncture and Moxibustion ............ 863

95.
Medicine: TCM - Diagnosis and Pharmacology .............. 868

96.
Medicine: TCM - The Development of Chinese Medicine ......................................................................................... 873

97.
Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing ......................................................................... 880

98.
Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority
................................................................ 889

99.
Minority cultures: The Ethnic Minorities’ Costumes ....... 896(Zeng Man/Emily)

100.
Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) .................................................. 907

101.
Money culture: The tradition of Red Envelope and Lucky Money ....................................................................... 917（Chen Pingan/Grace）

102.
Music and instruments: Guzheng ..................................... 928 (Liu Zeyu/Yew)

103.
Music and instruments: Pipa ............................................ 939

104.
Mythology: Gods and Immortals ..................................... 949(Wang Yue/Nora)
(present in the end on Sep 26, Session 4)
105.
Mythology: Huli-jing ....................................................... 958(Ma Ruiqing/Raymond)

106.
National Symbols: National Anthem ............................... 969

107.
National Symbols: National Flag ..................................... 976

108.
Opera: Peking Opera ........................................................ 984

109.
Opera: Peking Opera Acrobatics ...................................... 992

110.
Opera: Peking Opera Actor Mei Lanfang ........................ 999

111.
Opera: Tea-picking Opera .............................................. 1004（Chen Kuanshun/Jason）

112.
Opera: Hunan Flower-drum Opera (Huagu Opera) ........ 1012

113.
Philosophical Schools: Four Main Philosophical Schools ....................................................................................... 1023

114.
Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism ...................................... 1032

115.
Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching ............... 1037

116.
Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng . 1043

117.
Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living ....................................................................................... 1049

118.
Philosophical Schools (Daoism, Buddhism, Legalism): Legalism ....................................................................... 1060

119.
Philosophy: Chinese Traditional Cultivation Culture .... 1070

120.
Religion: Traditional Chinese Funeral Culture .............. 1082

121.
Religion: Buddhism ....................................................... 1096

122.
Religion: Daoism ........................................................... 1110

123.
Religion: Christianity ..................................................... 1115

124.
Religion: Islam ............................................................... 1121

125.
Science and Technology: Ancient Science and Technology ....................................................................................... 1125

126.
Science and Technology: China's Four New Inventions 1130 (Wang Xudong/Hue)

127.
Science and Technology: Compass ................................ 1154

128.
Science and Technology: TikTok (Douyin) .................... 1162

129.
Science and Technology: Three Giant Home Appliance Enterprises In China ..................................................... 1171

130.
Science and Technology: Four Domestic Mobile Phone Companies ..................................................................... 1191

131.
Silk and porcelain: Silk .................................................. 1206

132.
Silk and porcelain: Porcelain ......................................... 1211

133.
Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 ............................................................................... 1217

134.
Silk Road - by land and by sea: Zhang Qian and the Silk Road ....................................................................................... 1224

135.
Silk Road - by land and by sea: Zheng He and the Maritime Silk Road ....................................................................... 1229

136.
Silk Road - by land and by sea: Zheng He's Voyages .... 1233

137.
Social: The Long-life Lock ............................................ 1241 （Shu Lin/Shirleen）

138.
Social: Round Table Culture .......................................... 1249（Yu Yi/Memo)

139.
Stage entertainment: Crosstalk 相声 ............................. 1257(Lv Di/Ludy)

140.
Stage entertainment: Shadow Play ................................. 1264

141.
Traditional Crafts: Carving ............................................ 1272

142.
Traditional Crafts: Chinese Jade Culture ....................... 1280Zhang Yange(Mia)

143.
Traditional Crafts: Cloisonne ......................................... 1294

144.
Traditional Crafts: Embroidery ...................................... 1298

145.
Traditional Crafts: Shu Embroidery (Sichuan Embroidery) ....................................................................................... 1302

146.
Traditional Crafts: Xiang Embroidery ........................... 1315

147.
Traditional Crafts: Folk Art - Chinese Paper-cutting ..... 1329

148.
Traditional Crafts: Handcraft - Chinese Knots ............... 1336(Chen Zilan/Landy)

149.
Traditional Crafts: Lacquerware .................................... 1344

150.
Traditional Crafts: The Kingfisher Craft点翠 ............... 1349

151.
Traditional Cuisine: Chinese Dining Etiquette ............... 1362

152.
Traditional Cuisine: Chopsticks ..................................... 1376(Peng Yingying/Becca)

153.
Traditional Cuisine: Eight Major Cuisines of China ...... 1381 (Tang Xinyu/Eric)

154.
Traditional Cuisine: Four Distinct Regional Cuisines .... 1398(Peng Jiayi/Eva)

155.
Traditional Cuisine: Breakfast Culture of Wuhan .......... 1404 Chen Shanshan /Rebecca

156.
Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick .................................................................. 1414(Chen Mengzhu/Chris)

157.
Traditional Cuisine: Hotpot ............................................ 1423（Xiao Yixuan/Yuki)

158.
Traditional Cuisine: The Art of Chinese Cooking .......... 1430(Liu Zhouli/ lovia)

159.
Traditional Cuisine: Two Famous Dishes ...................... 1436

160.
Traditional Festivals ....................................................... 1440

161.
Traditional Festivals: Lattice on Ancient Chinese Windows ....................................................................................... 1447

162.
Traditional Festivals: Spring Festival Couplets ............. 1459

163.
Westernization: The Eastward Spread of Western Learning ....................................................................................... 1465

164.
Westernization: The Westernization Movement ............. 1471

165.
Worship: Chinese Incense Culture ................................. 1479(Tang Xinyan/Estrella)

166.
Economy: Chinese Currency Changes ........................... 1489

167.
History: Wang Shouren .................................................. 1493

168.
Martial Arts: Chinese Swordsman Spirit ........................ 1502(Zhang Rui)

169.
Cuisine: Luosifen ........................................................... 1513(Wang Xuan/Cynthia)

170.
Fine Arts: Chinese Paper Cutting ................................... 1521

171.
Science and Technology: Taobao(淘宝) ...................... 1531（Li Songlin/Solin)

172.
Traditional Craft: Bronze ............................................... 1541

173.
Entertainment: Deyunshe 德云社 ................................. 1548

174.
Traditional Cuisine: Jiaozi ............................................. 1561 (Liu Yi/Zer)

175.
Aesthetic ideals and social customs: the Photo Retouching Culture in China ............................................................. 1572

176.
Traditional Crafts: Handcraft - Oil-paper Umbrella ....... 1581（Wang Yan/Doris）

177.
stage entertainment:Yuan drama .................................... 1592

178.
Music and instruments: Erhu ......................................... 1601

179.
Traditional and Modern Views on Marriage and Love .. 1608(Zhao Siyao/Caroline)

180.
Traditional Cuisine: Tangyuan ....................................... 1615 (Su Yi/Suri)

181.
Animals：Golden Monkey ............................................ 1625

182.
Chinese Economy: rich businessmen ............................. 1631

183.
Opera: Chinese Local Operas ........................................ 1639

184.
The Chinese tradition of ancestor worship ..................... 1651(Shi Zhanning/Harper)

185.
Opera: Huangmei opera ................................................. 1663

186.
The “reference” of Chinese Music........................... 1670(Huang Zechen/Zachary)

187.
Chinese Folk Art:Lion Dance ........................................ 1676

188.
Science and Technology: Mobile Games（手游） ....... 1691 (Liu Peinan/Peter)

189.
Clothing: Vintage Clothing ............................................ 1697(Hu Shanshan/Maddy)

190.
Fine arts:Kunqu Opera ................................................... 1704

191.
Aesthetic ideals and social customs: The Culture of Flowers ....................................................................................... 1712（Chen Weiping/Jackie）

192.
National Belief: the Chinese Dream .............................. 1722

193.
Science and Technology: Buytogether（PDD) ............ 1729（Wang Yujiao/Wendy）

194.
Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People ................................................ 1748(Jiao Mengting/Sherry)

195.
Traditional Cuisine: Breakfast Culture of Guangdong传统美食：广东早餐文化 ....................................................... 1753（Wu Ziyi/Andrew）

196.
Telecast: Become a Farmer 种地吧 .............................. 1765（Sha Lijia/Reika）

197.
Animals: Chinese Rural Dogs 动物：中华田园犬 ...... 1773 (Zhao Jing/Winnie)

198.
Clothing: Hanfu 汉服：揭示中国传统服饰之美 ........ 1781（Guo Zibin/Anne）

199.
Music and instruments: Chime 音乐与乐器：编钟 ..... 1788

200.
Garden Culture: Suzhou Gardens 苏州园林 ................. 1795(Liang Dan/Anne)

201.
Traditional crafts: Moon-shaped Fans 传统技艺：团扇 1806(Le Yuxuan/Lydia)

202.
Minority cultures: Miao Silver Ornaments Culture 苗族银饰文化 ................................................................... 1827(Yang Hanxu/Hansu)

203.
Mysterious culture: Facial Physiognomy 相面术 ......... 1836(Zhou Xiaoqiao）
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204.
Games: Chinese Chess 游戏：象棋 ............................. 1847(Zhou Xukai/Kyrie)

205.
Music and instruments: Guqin 古琴 ............................. 1863

206.
Music and instruments: The Spring Snow 音乐和乐器：《阳春白雪》 ........................................................................... 1878

207.
The "Four Gentlemen": Plum, Orchid Bamboo, Chrysanthemum “四君子”的象征意义 ....................... 1885 （Hu Zheng/ Leven）

208.
Traditional festivals: The Flower Fairy Festival 花朝节 1898 （Gong Tao/Gisele)

209.
Architecture: Shigu Academy 建筑：石鼓书院 .......... 1906

210.
Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1918

211.
Beverages: Sexy Tea 饮品：茶颜悦色 ........................ 1926 (Huang Qi/ Esther)

212.
Opera: Flower-drum Opera 花鼓戏 .............................. 1935(Zhou Jing/ Amy)

213.
Traditional Festivals: Shangsi Festival 上巳节 ............. 1943 （Li Jia/ Zoe）

214.
Ancient Chinese Women's Culture: Ji Sor (Self-combing female) 自梳女 ................................................................. 1949 (Wu Jiaying Cathy)

215.
Cuisine: Dong'an chicken: The Premier Dish of Hunan Cuisine 东安鸡：湘菜之首 ........................................... 1962

216.
Ancient Chinese Women's Culture：Nüshu (Women's Script) 女书 ................................................................................... 1970（He Chuwen/Lyra）

217.
Opera: Shaoxing Opera 越剧 ........................................ 1991

218.
Traditional Crafts: Jade Carving Art 玉雕 .................... 1997

219.
Chinese snack: spicy gluten 中国小吃：辣条 ............. 2003(Jiang Yaping/Sunny)

220.
Social Phenomenon: Marriage: Women Being Urged to Get Married 婚姻：被催婚的女性 ........................................ 2010 Liu XinYu

221.
Chinese mythology: Chinese Dragon Culture 中国龙是什么
....................................................................................... 2019(Zhang Shuai / Andy)

222.
Minority cultures: Laosicheng 老司城 ......................... 2028

223.
The Torch of Unity: Celebrating Torch Festival Among China's Ethnic Minorities 团结的火炬——中国少数民族庆祝火把节
........................................................................... 2041 Xiao Feiyan
224.
Chinese Painting: A Thousand Miles of Rivers and Mountains 《千里江山图》 ............................................ 2048(Yao Yiyun/Olivia）

225.
Festival: Qixi Festival 七夕节 ...................................... 2055（Li Ru/Lee）

226.
Music and instruments: Yuge (Fishing song) 渔歌 ....... 2063

227.
Education: Chicken Child (Fired-up Child) 教育：鸡娃 2071(tao yu/mikansei)

228.
Chinese Science Fiction: The Three-Body Problem 中国科幻小说：《三体》 ............................................................. 2083(Zhang Mengzhe/Nine)

229.
Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft 湘西赶尸：古老巫术下的生死轮回 2092 (Liao Wenyao/Rose)

230.
Architecture: Chinese Memorial Archway (Paifang) 中国传统建筑：牌坊 ................................................................... 2098

231.
Chinese Animation 中国动画传统 ............................... 2110（pan yilin/ceci）

232.
Social Phenomenon: Military-style Travel 特种兵式旅游 2121

233.
Folk Art: Youshen Fairs 游神 ....................................... 2131

234.
Nuo Opera 傩戏 ............................................................ 2141

235.
Music and Instruments: Suona Horn 唢呐 .................... 2157（Liu Jieyu/Erica）

236.
Chinese Handicraft: Kesi 中国手工艺品：缂丝 .......... 2166

237.
Sangzhi Folk Songs 桑植民歌 ...................................... 2173

238.
Music and instrument: Ancient Chinese pentatonic scale – Gong, Shang, Jue, Zhi, Yu 五声音阶，汉族古代音律：宫—商—角—徵—羽 ............................................................... 2192 (Han Yaxuan)

239.
Social Phenomenon: Mobile Population 社会现象：流动人口 ....................................................................................... 2204(Hu Zetao/Francis)

240.
Chinese tradition culture: Zanhua 簪花 ........................ 2213 （Xie Ke）

241.
Incense Culture 香道文化 ............................................ 2221 （Zeng Xin）

242.
The Imperial Civil Examination System 科举制度 ...... 2230

243.
Literature: Qu Yuan 文学：屈原 .................................. 2238(Jiang Caiyun/Tony)

244.
Games: pitch-pot game (Touhu) 投壶游戏 ................... 2244(Kuang Jing/Jin)

245.
Folk Art: Piao Se 民间艺术：飘色 .............................. 2253(Huang Mengyan/Mandy)

246.
Jingdezhen Porcelain 景德镇陶瓷 ................................ 2261(Li Dinghao/Leo)

247.
Folk Traditional Customs: Fireworks and Firecrackers 民间传统习俗：烟花和爆竹 ........................................... 2270 (Cao Jialong/caron)

248.
The Literati Painting of the Ming Dynasty: The Wu School 明代文人画：吴门画派 ................................................... 2278

249.
Thangka 唐卡 ............................................................... 2285（Yang Lingyue/Judy）

250.
Striking iron flower 打铁花 .......................................... 2294 (Fu Xinke/Finger)

251.
Chinese Cuisine: Xiang Cuisine – One of the Eight Major Cuisines 湘菜 ................................................................... 23029（Liu Li/Glen）

252.
The Evolution of the Official Selection System 仕进制度 2312（Xia Rong/Sharon)

=Here you can suggest your topic for your final exam paper=
Deadline: Sep 15, 2024

1. Sports: Cuju (蹴鞠)......（Liu Yi/Zer）

2. Science and Technology: Chinese Electrical Vehicles 中国电动汽车 ......(Cheng Linjia/Jason)

3. Chinese tradition culture: Ronghua—Velvet Flowers 绒花………(Xiao Feiyan)

4. Stage entertainment: northeast Errenzhuan (二人转).........(Wu Jiaying/Cathy)

5. Animals: Chinese Cat Culture 动物：中国的猫文化 ...... (Zhao Jing/winnie)
6. Nanchang Relic Museum for Haihun Principality of Han Dynasty (Yao Yiyun)

7. Grass cloth 夏布（Yu Yi/Memo）

8. The Legend of Zhen Huan 《甄嬛传》(Yang Lingyue/ Judy)

9.Chinese horror movies 中式恐怖片......(Zhou Xiaoqiao/ Summer)

10. Stand-up comedy 单口喜剧......(Huang Zechen/ Zachary)

11.Chinese tradition culture: birde-price（彩礼）……（Wang Yujiao/Wendy）

12. Chinese science fiction movies 中国科幻片......（Liu Peinan/Peter）

13.Xiang Embroidery蜀绣······（Liu Zhehui/Mary

14.Chinese traditional jewellery: Buyao(dangling ornament worn by women) （步摇）……（Shu Lin/Shirleen）

15. Tofu meatball with pig blood (猪血丸子) （Su Yi/Suri）

16. Sunzi’s Art of War: Source for All Books on War (孙子兵法) …… (Li Jia/Zoe)

17. The Temple of Heaven：Reverence with Awe and Gratitude（天坛）……（Li Ru/ Lee）

18. Education：training Schools （教育：补习班）……（Jiang Caiyun/Tony）

19. Chinese Dreamcore (中式梦核) ……（Tao Yu/Mikansei）

20.Lu Ban, China’s inventor（中国发明家——鲁班）……（Xiao Yixuan/Yuki）

21. Live-stream shopping（直播带货）……（Yang Fan/Shawn）

22.The Story of Ming Lan（知否知否，应是绿肥红瘦）......(Sha Lijia/Reika)

23. Cha Bai Xi/Tea Latte Art (茶百戏) …… （Fu Xinke/Finger）

23.Herbal tea（凉茶）……（Huang Mengyan/Mandy）

24.Chinese traditional art form：Seal carving（篆刻）……（Wang Yan/Doris ）

25.Rice cake(年糕）……（Chen Pingan/Grace）

26.Zhongyuan festival……(Pan Yilin/Ceci)

27.Dulong: Facial tattoo (独龙族：纹面)……（Zeng Xin）

27.The Return of the Pearl Princess（还珠格格）……（Zeng Wenjing/Zoey）

28.Exercise of middle-aged Chinese people（中国中年人健身）……（Jiao Mengting/Sherry）

29. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛）……（Wu Ziyi/Andrew）

30. Chinese Musical Instrument: Konghou(箜篌)…… (Chen Zilan/Landy)

31. Chinese Bossy Fictions&Micro-drama（中国式霸总小说&短剧）……（Zhang Mengzhe/Nine）

32. Chinese Traditional Medicine (中医药）……（Kuang Jing/Jin）<----- Please check if this topic is not already treated in the textbook. ——— Mortise and Tenon Joint（榫卯结构）

33. Jingdezhen Porcelain……(Le Yuxuan/Lydia) <----- Please check if this topic is not already treated under "porcellain" in the textbook.
The Emotional Bearings and Cultural Connotations of the Moon Imagery in Song Poems (宋词中“月”意象的情感承载和文化内涵）

34. Music and instruments: Erhu ……（Hu Zheng/Leven）<----- Please check if this topic is not already treated under "Erhu" in the textbook.（National Belief: the Chinese Dream ）

35.The plaque and couplet in Chinese garden（园林匾额对联）……（Jiang Chenmei/Lilian）

36. Sun Wukong（孙悟空）……（Liu Huixaun/ Polly）

37. Traditional Chinese Pigments（中国传统颜料）……(Liu Zhuofan/Drovan)

38. Dragon Lantern Dance（舞龙灯）……（Zhou Jing/Amy）

39. Bamboo Weaving (竹编） ......（Zeng Man/ Emily)

40. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) ...... (Chen Mengzhu/ Chris)

41. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)……(Jiang Yaping/Sunny)

42. Three Famous Chinese Mountains(中国三山)......(Liang Dan/Anne) <----- Please check if this topic is not already treated in the textbook.

43. Female Emperor---Wu Zetian......(Zhou Ranran/Jerry) <----- Please check if this topic is not already treated in the textbook.

44. Hotpot(火锅）……(Liu Jieyu/Erica) <----- Please check if this topic is not already treated in the textbook.

45. Abacus(中国珠算）……(Zhang Yange/Mia)

46. Hunan Rice Noodles（湖南米粉） ……(Cao Jialong/Caron)

47. Yao-Chinese folktales（中国奇谭）……(Chen Weiping/Jackie)

48. Chinese popular viral memes (中国网络社交媒体“热梗”）……(Liu Xinyu/Layla)

49. Douzhi (豆汁儿) ……(Lv Di/Ludy)

50.New Year Wood-block Paintings(木版年画）......(Chen Shanshan/Rebecca)

51.The rural revitalization （乡村振兴）......（Liu Zhouli/lovia）

52. Jing Gang Mountain(井冈山）......(Chen Kuanshun/Jason)

53. Intangible Cultural Heritage: Tongguan Kiln （铜官窑）......（Peng Lu/Julia）

54. Language: Hakka Dialect（客家话）……（Tang Yuewei/Eavan）

55. Rice noodle roll（肠粉）……（Zhou Yicen/Hannah）

56. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜）…… （Wang Yue/Nora)

57. Yuelu Mountain (岳麓山)……(Zhou Xukai/Kyrie)

58.Traditional Crafts：Tie-Dye（扎染）……（Xie Ke）

59. Chinese-style sun protection (中式防晒）…… (Zhao Siyao/Caroline)

60. Fengshui (风水）…… (Zhang Shuai/Andy)

61.Yangshao Culture（仰韶文化）…… (Cai Yingchu/ Rachel)

62.Indigo Dyeing(蓝染)……(Long Jiayu/Tara)

63.Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua……(Liao Wenyao/Rose)

64. Wedding dress in the Song Dynasty(宋代婚服）……(Peng Yingying/Becca)

65.The great unification in ancient China(中国古代的大一统思想)……(Ma Ruiqing/Raymond)

66. Traditional Instrument: Erhu （二胡）......（Li Dinghao / Leo）<----- Please check if this topic is not already treated in the textbook. There is another student who wants to write about the same topic. Please make sure it is not yet written and nobody else writes about it.

67. Shaolin Temple (少林寺)......(Shi Zhanning/ Harper)

68. Single bamboo drifting（独竹漂）……(Guo Zibin/Binbin)

69. Cuisine: Changde spicy salted duck 酱板鸭传说的由来……(Zhou Ranran/Jerry)

70. Hui Culture(徽文化)......（Chen Guangzi /Alan）

71. Ma Zu Culture (妈祖文化）……（Liu Li/ Glen）

72. Table Manners …… (Tang Xinyu/Eric)

73. The Mongol nationality(蒙古族）...... ( Liu Zeyu/ Yew)

=Session 1 Thursday Sep 5, 2024 19:00-21:35=
Please download the powerpoint presentation of the teacher here: [[Media:01_Chin_Lang_Cult_2024.pptx]].

=Session 2 Thursday Sep 12, 2024 19:00-21:35=
During the three hours today, the students are presenting the following 6 topics:

6.
Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China ...................................... 60 (Cheng Linjia/Jason) [[Media:Handsome_Men_2024.pptx]]

20.
Beverages: Milk Tea ........................................................ 186 (Peng Lu/Julia) [[Media:Milk_Tea_2024.pptx]]

21.
Beverages: Tea ................................................................. 193（Yang Fan/Shawn）[[Media:Tea_2024_fall.pptx]] (Please compare with old presentation from Spring 2024: [[Media:Tea_2024.pptx]].)

22.
Beverages: The Liquor Culture of Ancient China ............ 198（Liu Zhuofan/Drovan）[[Media:Liquor_2024.pptx]]

33.
Clothing: Cheongsam ....................................................... 285 (Tang Yuewei/ Eavan) [[Media:Cheongsam_fall_2024.pptx]] (Please compare with old presentation from Spring 2024: [[Media:Cheongsam_2024.pptx]].)

41.
Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties .............................. 367（Hannah/Zhou Yicen）[[Media:Official_Selection_System_2024.pptx]]

=Session 3 Thursday Sep 19, 2024 19:00-21:35=

All students: Please prepare these three texts in the textbook for today.

During the three hours today, the students are presenting the following 6 topics:

44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up, p. 393 (Li Xiaosu/Jacinda) [[Media:Cosmetics_2024.pptx]]

50. Games: Go 围棋, p. 439 (Peng Yixin/ Eason) [[Media:Go_2024.pptx]]

51. Games: Kite Flying p. 445 （Liu Huixuan/ Polly）[[Media:Kite_2024.pptx]]

52. Games: Mahjong: An Ancient Chinese card play, p. 452(Zeng Wenjing/Zoey)[[Media:Mahjong_2024.pptx]]

53. Garden Culture: Gardens, p. 480(Jiang Chenmei/Lilian) [[Media:Gardens_2024.pptx]]

55. Garden culture: the Summer Palace, p. 493(Liu Zhehui/Mary) [[Media:Summer_Palace_2024.pptx]]

Homework:

1. Please read the six texts for next time in the textbook.

2. Please add your final exam paper topic and your name in the respective section above.

3. Take the surveys (EU: https://wn8ae3qwafbc11zv.mikecrm.com/9gdWrQT, 2024: https://wn8ae3qwafbc11zv.mikecrm.com/CTrdOjm).

=Session 4 Thursday Sep 26, 2024 19:00-21:35=

During the three hours today, the students are presenting the following 6 topics:

56. Garden Culture: Qingming Riverside Landscspe Garden 500 (Cai Yingchu/ Rachel)[[Media:Qingming_2024.pptx]]

57.Gender: Wu Zetian: The Only Female Emperor of Imperial China (Zhou Ranran/Jerry)[[Media:wuzetian.pptx]]

62. Landscapes and Tourism: Landscape, Five Famous Mountains p. 555（Wu Jing/Jennie）[[Media:Five_Mountains 1_2024.pptx]]，[[Media:Five_Mountains 2_2024.pptx]]

87. Literature: Contemporary Literature p. 818 (Chen Guangzi/Alan) [[Media:Cont_Chin_Lit_2024.pptx]]

99. Minority cultures: The Ethnic Minorities’ Costumes p. 896(Zeng Man/Emily)[[Media:Costumes_2024.pptx]]

=Session 5 Thursday Oct 10, 2024 19:00-21:35=

104. Mythology: Gods and Immortals p. 949 (Wang Yue/Nora) p.949 [[Media:Gods and Immortals1_2024.pptx]], [[Media:Gods and Immortals2_2024.pptx]], [[Media:Gods and Immortals3_2024.pptx]]

69. Language: Chinese Dialects 626 (Long Jiayu/Tara)[[Media:Dialects_2024.pptx]]

101. Money culture: The tradition of Red Envelope and Lucky Money p. 917（Chen Pingan/Grace）[[Media:Red_Envelope_2024.pptx]]

102. Music and instruments: Guzheng p. 928 (Liu Zeyu/Yew)[[Media:Guzheng_2024.pptx]]

105. Mythology: Huli-jing p. 958(Ma Ruiqing/Raymond)[[Media:Huli-jing_2024.pptx]]

111. Opera: Tea-picking Opera p. 1004（Chen Kuanshun/Jason）[[Media:Tea-picking_Opera_2024fall.pptx]]

126. Science and Technology: China's Four New Inventions 1130 (Wang Xudong/Hue) [[Media:Four_New_Inventions_2024.pptx]]

=Session 6 Thursday Oct 17, 2024 19:00-21:35=

137. Social: The Long-life Lock p. 1241 （Shu Lin/Shirleen） [[Media:Long-life Lock_2024_fall.pptx]]

138. Social: Round Table Culture p. 1249（Yu Yi/Memo) [[Media:Round Table_2024.pptx]] [[Media:Round Table_2024_fall.pptx]]

139. Stage entertainment: Crosstalk 相声 p. 1257(Lv Di/Ludy) [[Media:Crosstalk_2024.pptx]] [[Media:Crosstalk_2024_fall.pptx]]

142. Traditional Crafts: Chinese Jade Culture p. 1280Zhang Yange(Mia) [[Media:Jade_2024.pptx]]

148. Traditional Crafts: Handcraft - Chinese Knots p. 1336(Chen Zilan/Landy) [[Media:Chinese Knots_2024.pptx]]

152. Traditional Cuisine: Chopsticks p. 1376(Peng Yingying/Becca) [[Media:Chopsticks_2024.pptx]]

=Session 7 Thursday Oct 24, 2024 19:00-21:35=

153. Traditional Cuisine: Eight Major Cuisines of China p. 1381 (Tang Xinyu/Eric) [[Media:Eight_Cuisines_2024.pptx]]

154. Traditional Cuisine: Four Distinct Regional Cuisines p. 1398(Peng Jiayi/Eva) [[Media:Regional_Cuisines_2024.pptx]]

155. Traditional Cuisine: Breakfast Culture of Wuhan p. 1404 Chen Shanshan /Rebecca [[Media:Breakfast1_2024.pptx]][[Media:Breakfast2_2024.pptx]]

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1414(Chen Mengzhu/Chris) [[Media:Tanghulu_2024.pptx]]

157. Traditional Cuisine: Hotpot p. 1423（Xiao Yixuan/Yuki) [[Media:Hotpot_2024.pptx]]

158. Traditional Cuisine: The Art of Chinese Cooking p. 1430(Liu Zhouli/ lovia)[[Media:Traditional Cuisine: The Art of Chinese Cooking_2024.pptx]]

=Student roll=
*Ahmed Hassan
*Anni
*Anni
*Cai Yingchu
*Cao Jialong
*Chen Guangzi
*Chen Hong
*Chen Kuanshun
*Chen Mengzhu
*Chen Pingan
*Chen Shanshan
*Chen Weiping
*Chen Zilan
*Cheng Linjia
*Fu Xiaohui
*Fu Xinke
*Gong Tao
*Guo Zibin
*Han Yaxuan
*He Chuwen
*He Meng
*Hu ShanShan
*Hu Zetao
*Hu Zheng
*Huang Mengyan
*Huang Qi
*Huang Zechen
*Jiang Caiyun
*Jiang Chenmei
*Jiang Yaping
*Jiao Mengting
*Kuang Hongbo
*Kuang Jing
*Lan Qier
*Le Yuxuan
*Li Dinghao
*Li Fuxin
*Li Jia
*Li Ru
*Li Songlin
*Li Xiaosu
*Liang Dan
*Liao Wenyao
*Liu Huixuan
*Liu Jieyu
*Liu Li2
*Liu Peinan
*Liu Xinyu2
*Liu Yi2
*Liu Zeyu
*Liu Zhehui
*Liu Zhouli
*Long Biao
*Long Jiayu
*Lv Di
*Ma Ruiqin
*Ma Ruiqing
*Ma Ruiqing2
*Ma Zejing
*Pan Yilin
*Peng Jiayi
*Peng Yingying
*Peng Yixin
*Sha Lijia
*Sharon
*Shi Zhanning
*Shirleen
*Shirleen
*Shu Lin2
*Su Yi
*Sun Lanxiang
*Tan Minqi
*Tang Xinyan
*Tang Xinyu
*Tang Yuewei
*Tao Yu
*Tong Le
*Wan Sicahng
*Wan Sichang
*Wan Yuxuan
*Wang Qingqin
*Wang Xuan2
*Wang Xudong
*Wang Yan2
*Wang Yue
*Wang Yujiao
*WanSichang
*Wei Yi
*Wu Jiaying
*Wu Jing
*Wu Tongtong
*Wu Yifan
*Wu Yifan2
*Wu Yifan2
*Wu Ziyi
*Xia Rong
*Xiao Feiyan
*Xiao Yixuan
*Xie Ke
*Xie Wenxia
*Xie Yangxiao
*Xie Yangxiao2
*Yang Fan
*Yang Hanxu
*Yang Lingyue
*Yao Yiyun
*Yu Duanhua
*Yu Lu
*Yu Yi
*Zeng Man
*Zeng Wenjing
*Zeng Xin
*Zhang Mengzhe
*Zhang Rui3
*Zhang Shuai
*Zhang Yange
*Zhao Jing
*Zhao Siyao
*Zhao Xinyi
*Zhou Jing
*Zhou Ranran
*Zhou Xiaoqiao
*Zhou Xukai
*Zhou Yicen

=Session 8 Thursday Oct 31, 2024 19:00-21:35=

Today, we start a field research study under the HUNNU JM Research Centre of Excellence (EU grant).

The study is intended to compare learning with AI and without AI.

By participating in the study, you agree that your data will be collected. However, the data will first be anonymized and only as anonymized data analyzed and compared with other sets of data. The results are inteded to be published in scientific publications.

Task 1: Please decide whether you

- want to use

- or not want to use

an AI app with a daily dialogue of 7 phrases to improve your foreign (English, Korean, Japanese) language learning until end of the year.

The groups should almost be equally large.

The group that decides not to use an AI app to improve their language learning are not allowed to use any AI app to improve their language learning. It should not learn less, but try to learn more with humans and from books.

==AI group==

==Human group==

Task 2: Every group should take some notes every day on your wiki homepage about your language learning. You can also write "Today I did not do anything for my language learning."

How to find your homepage?

https://bou.de/u/wiki/User:Tang_Yuewei

or

https://bou.de/u/wiki/User:Liu_Yi2

Then click on edit. Input two new lines (leave one line free) and then write

\= Oct 31, 2024 \=

Today I talked with TalkAI about hobbys.

==Student Presentations today==
165. Worship: Chinese Incense Culture p. 1479(Tang Xinyan/Estrella)[[Media:Incense_2024.pptx]]

168. Martial Arts: Chinese Swordsman Spirit p. 1502(Zhang Rui) [[Media:Swordsman_2024.pptx]]

169. Cuisine: Luosifen p. 1513(Wang Xuan/Cynthia)[[Media:Luosifen_2024.pptx]]

171. Science and Technology: Taobao(淘宝) p. 1531（Li Songlin/Solin)[[Media:Taobao_2024.pptx]]

174. Traditional Cuisine: Jiaozi p. 1561 (Liu Yi/Zer)[[Media:Jiaozi_2024.pptx]]

176. Traditional Crafts: Handcraft - Oil-paper Umbrella p. 1581（Wang Yan/Doris）[[Media:Oil-paper_Umbrella_2024.pptx]]