Portraits Of Chinese Women In

Agnes Smedley worked in and wrote about China from 1928 until 1941. Her journalism and fiction capture the massacre of short-haired feminists in the Canton commune, the lives of silk workers of Canton charged with being lesbians, and the story of Mother Tsai, a peasant who leads village women in smashing an opium den. The Village Voice praised the volume for having "captured brilliantly... the forces of the old and new China struggling in each person she describes."

The special focus of this book is the lives and experiences of women in China in the first half of the 20th century. Part One - Historical Interpretations - presents essays by Western-educated Chinese women and men, on the historical role of women in a time of great social and economic upheaval. Part Two - Self-Portraits of Women in Modern China - presents the views of women who experienced life in this period through essays and autobiographies that range from women as concubines to women as factory workers, from women suffering footbinding to women serving as nurses, from women in traditional role in a traditional family to women as scientists and teachers.

This book brings together some of the worlds finest "meiren hua" (paintings of beautiful women), a genre of Chinese painting spanning the countrys last imperial dynasty (1644-1912). Often dismissed as decorative or misinterpreted as highbrow portraits of ladies, these enigmatic and relatively unexamined works are the subject of close scholarly scrutiny in this publication.

This work explores the developments in the function of informal portraiture in later Ming and Qing dynasty China, from about AD1600 to 1900. The study focuses on images of artists, including self-portraits, and their associates from centres of painting in

Ethnicity is a highly politicized issue in contemporary China. Twentieth-century nation-building has been intimately involved with classification of ChinaOs fifty-five ethnic minorities and with fostering harmony and unity among nationalities. Officially sanctioned social science classifies the majority group, the so-called Han, at the pinnacle of modernization and civilization and most other groups as Oprimitive.O In post-socialist China, popular conceptions of self, person, and nation intersect with political and scholarly concerns with identity, sometimes contradicting them and sometimes reinforcing them. In Portraits of OPrimitives, O Susan D. Blum explores how Han in the city of Kunming, in southwest China, regard ethnic minorities and, by extension, themselves. She sketches Oportraits, O or cognitive prototypes, of ethnic groups in a variety of contexts, explaining the perceived visibility of each group (which almost never correlates with size of population). Ideas of OHannessO can be understood in part through Han desire to identify unique characteristics in ethnic minorities and also through Han celebration of the differences that distance minorities. The book considers questions of identity, alterity, and self in the context of a complex nation-state, employing methods from linguistic anthropology and psychological anthropology, as well as other forms of cultural analysis. Providing nuanced views of relationships among political, scholarly, and popular models of identity, this book will be an invaluable guide for those working in China studies, anthropology, and ethnic studies.

As members of a tiny ethnic minority in Indonesia—the world's largest Islamic nation—Chinese-Indonesian women face hurdles of race and gender that others would find insurmountable. In Breaking Barriers, author Aimee Dawis profiles nine highly accomplished women who have overcome these obstacles and thrived. In this book you'll meet: an Olympic gold medalist a world-class concert pianist a media mogul and style icon Plus six other extraordinary personalities in the worlds of business, science, sports, politics and the arts. In these profiles, Dawis shows us how Chinese-Indonesian women serve the needs of family and community while carving out a strong and independent role for themselves in their chosen fields through determination, a belief in their ability and strong pride in their ethnic roots. These Asian women may be members of a minority group, but their stories provide inspiration for future generations of Chinese-Indonesian women, and women everywhere.

Centering on five life stories by Chinese women activists born just after the turn of this century, this first history of Chinese May Fourth feminism disrupts the Chinese Communist Party's master narrative of Chinese women's liberation, reconfigures the history of the Chinese Enlightenment from a gender perspective, and addresses the question of how feminism engendered social change cross-culturally. In this multilayered book, the first-person narratives are complemented by a history of the discursive process and the author's sophisticated intertextual readings. Together, the parts form a fascinating historical portrait of how educated Chinese men and women actively deployed and appropriated ideologies from the West in their pursuit of national salvation and self-emancipation. As Wang demonstrates, feminism was embraced by men as instrumental to China's modernity and by women as pointing to a new way of life.