Chinese Femininities/Chinese Masculinities: A Reader
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Complementary Readings Complementary Readings
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Part front matter for Part Three Gender in Literary Traditions
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Published:07 January 2002
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In many ways, literary and film criticism are the disciplines that have led the way in the analysis of gender as a system of representations in China. Postmodern theory has made a particularly useful contribution here in drawing attention to questions of “subjectivity” in literature and film (that is, the viewpoint from which the work is created, including gender, class, ethnic, national, and other identities, as well as the inequalities of power that structured the production of the work). In addition, there has probably been a greater degree of interchange of ideas between Chinese scholars publishing in Chinese in the mainland and diasporas; Anglophone scholars publishing in the West; and Chinese-born, Western-educated scholars publishing in English in the West than has occurred in anthropology, history, and other social sciences. While the reasons for this are varied, one factor is that literary criticism was a well-developed discipline in China long before the opening-up policies of the 1980s, and it was easier in literature than in the social sciences and history for scholars to find a common language on opposite sides of the Pacific. The social sciences and history suffered greatly under the intellectual repression of the Maoist period. And even in the 1980s and 1990s, social criticism continued to be much more politically dangerous than literary criticism. For this reason, as noted in the introduction to this book, historical and anthropological work on Chinese gender has tended to be dominated by Anglophone scholars and their theoretical approaches.
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