Annotated Bibliography Different Characteristics between Modern Chinese Women and Traditional Chinese Women Wang, Robin. “5. The Record of Rites.” Images of Women in Chinese Thought and Culture Writings from the Pre-Qin Period to the Song Dynasty. Indianapolis: Indianapolis/Cambridge, 2003. 48-60. Print.
This chapter in Images of Women in Chinese Thought and Culture is one of the most essential ones to analyze the qualifications of traditional Chinese women. Liji contains the earliest formulation of the Confucian code for women, three obediences and four virtues. This chapter has seven books of Liji with sub-sections. In each book, it describes legislation and rules on the roles and virtues of women.
In my paper, I would use the ideas expressed in this chapter to help me in writing a good research. This will be done by analyzing the characteristics of traditional Chinese women through the help of this chapter. It will enable me to establish the argument that the characteristics of traditional women are gradually disappearing and changing from what it used to be before. Thus, the chapter of The Record of Rites provides primary sources for the topic. It will, therefore, help me in explaining changes in the Chinese traditions such as the one preventing the males and females from being together which is no longer applicable to the modern Chinese woman.
Wang, Robin. “22. Biographies of Women.” Images of Women in Chinese Thought and Culture Writings from the Pre-Qin Period to the Song Dynasty. Indianapolis: Indianapolis/Cambridge, 2003. 149-176. Print.
The author, Liu Xiang, wrote 125 biographies on virtuous and vicious women into seven categories. In this chapter of Images of Women in Chinese Thought and Culture, there are four of the 125 biographies. These four biographies provide convincing examples of typical traditional Chinese women. The story of mother Meng proves that a traditional Chinese woman should have as a mother, wife, and mother-in-law. From a traditional perspective, people believe that a woman is cultivated to care for affairs within the home, but does not have the ambition to care for affairs outside.
The ideas expressed in this chapter can be of much importance when conducting research on Chinese women. It is a clear example of a traditional Chinese woman. When thoroughly analyzed, it can provide a basis for understanding the changing characteristics of Chinese women over the years. Unlike it was before, a modern Chinese woman today is free to act independently without necessarily complying with the expectations and regulations from others. This is what my research seeks to find out.
Sophia Chen Zen. ‘The Chinese women in a modern world.’ University of British Columbia, Pacific Affairs Vol. 2, No. 1 (Jan. 1929) pp. 8-15.
Here, Zen uses an example of Mrs. Chang, a typical Chinese woman in traditional China, who takes good care of her family after marriage as a wife, mother, and daughter-in-law to first describe the characteristics of a traditional Chinese woman. Then, she goes ahead to compare these features to that of a modern Chinese woman whom she argues that, are no longer limiting themselves within the small life circle of their families. She discussed several evidence to prove that Chinese women are changing throughout history, for example, accepting advanced education, free marriage and equal competitiveness with men. She also argues that the changes of Chinese women don’t mean that all the characteristics of traditional women are disappearing, but that women are making wise choices of elements of Chinese cultures to adopt.
Indeed, this piece would be so resourceful if used in conducting research on the changing aspects of Chinese women. As she says in the article, chine women are not culturally static. They are so dynamic and keep on changing from time to time. This explains why their behaviors and roles keep on changing every now and then. True to her argument, the traditional Chinese woman has now evolved to be a modern type who is not bothered about many outdated cultural traditions. These facts if fused into my research can make it quite authoritative and reliable.
Bonnie, Mcdougall. ‘Cross-Dressing and the Disappearing Woman in Modern Chinese Fiction, Drama and Film: Reflection on Chen Kaige’s Farewell My Concubine.’ Sage Publishers Vol. 40, No. 5, October 2014.
In this article, Mcdougall uses Farewell My Concubine as a base. He holds the view that female characters in such films reflect Chinese social and political factors during the early 20th century. By analyzing Farewell My Concubine, the author believes that the women characters were gradually displaced from center-state—they either die or disappear and later on played by cross-dressing male actors such as Cheng Dieyi. Thus, the author proves that women have not only failed to survive from the society but also did not suffer from a divided consciousness as their male counterparts did.
This article can play a very significant role while conducting research on the changing roles of Chinese women over the years. As demonstrated in this article in which their appearance in films kept on changing over the years, the same has been persistent and reflected in other areas in life. Unlike before, the Chinese women have assumed different roles in society. This shows that they are not static, but subject to the unlimited transformations of society. These arguments can be a source of information when carrying out research on different aspects of traditional and modern Chinese women.
Chengzhou, He ‘Women and the Search for Modernity Rethinking Modern Chinese Drama.’ Modern Language Quarterly 2008 Volume 69, Number 1: 45-60.
Here, Chengzhou explores the relationship between Chinese women and Chinese modernity through a close reading of canonical texts from modern Chinese plays. He believes that the transformations of women and many modern Chinese females’ characteristics are well reflected in Chinese plays and modern Chinese drama that provide a rich textual field in which to track the ambiguities of the modern. The author also recognizes the standard of traditional women, but in contrast to Mcdougall’s study. He argues that there are dramas and films that suggest women were actually heroines of Chinese modernity and survived during social transformation time such as the Cultural Revolution.
This article will well support my argument by examples that Chinese modern women have different characteristics from traditional ones and these characteristics can be reflected by drama works. For example, the hero characters in The Red Detachment of Women and Qiu Yun in Women, Deman, Human show that even if women were dominated by their male counterparts, they could still play leading roles in movies. This, when translated to real life, can be used to explain why women are progressively becoming aggressive in modern Chinese society.
Deborah S. Davis ‘Privatization of Marriage in Post-Socialist China.’
Sage. Vol. 40, No. 4. July 2014.
In this article, Deborah explores the structural changes that took place in the Chinese culture after the end of communism. In her opinion, the institution of the socialist society introduced a lot of changes to China. For instance, the post-socialist regime that introduced the one-child policy came up with pressures that really influenced Chinese marriages. Unlike it was before, women have resorted to establishing lose marriage lives which often result in divorce. This is a clear indication of the cultural transformations that modern Chinese women have undergone in the recent past. Unlike it was in the traditional era, women can now make bold decisions such as divorcing their husbands.
This article can also be quite resourceful when used in carrying out a research on the characteristics of traditional and modern Chinese women. The actions of the post-socialist Chinese women demonstrate how they have changed over time. Unlike before, they have become so dynamic and open-minded to make sensible decisions that they were bound by culture not to attempt. This bit must be captured by my research whatsoever.