Difference between revisions of "User:Liao Wenyao"
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'''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)". | '''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) | Written by Liao Wenyao(Rose) | ||
| − | 1. Introduction | + | '''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) | 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 | + | '''2. Four Female Writers and the Involved Chinese Culture''' |
The specifics will be given below. | The specifics will be given below. | ||
| Line 102: | Line 102: | ||
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) | 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 | + | '''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) | 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 | + | '''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) | 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) | + | '''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) | 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 | + | |
| + | == '''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) | 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) | ||
Revision as of 05:23, 31 December 2024
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 AI(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)