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The politics and poetics of wo/man/ufacture: Male representations of woman in Chinese Han fu and Roman love elegy.

机译：wo / man / fafcture的政治和诗学：中国汉服和罗马爱情挽歌中女性的男性表现。

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摘要

This dissertation develops the concept of wo/ man/ufacture to show how male writers construct female figures (woman/ufacture) for the purpose of self-construction (man/ufacture). It adopts a comparative perspective to investigate this question by focusing on Chinese scholar-official (shi) rhapsodists in the Han Empire and Roman elite elegists in the Augustan Empire. I consider the construction of five female figures in their poetry: the goddess, the mundane beauty, and the abandoned woman in the Chinese Han fu (rhapsody), and the mistress-enslaver and the abandoned woman in the Roman love elegy. Through the idea of wo/man/ufacture, this study creates new transcultural and cross-temporal comparisons. It also demonstrates the desirability of rereading female figures from political, rhetorical, and aesthetic perspectives and contributes to the study of "women" in antiquity beyond the level of "reading reality."; In Chapter I, I establish my use of wo/man/ufacture, through a feminist critique of Lacan's and Derrida's uses of female figures. In Chapter II, I argue that Chinese rhapsodists and Roman elegists also use female figures to dissimulate their identity crises in relation to the regime of power. This poetics of dissimulation creates a complex symbolism of "the abject" and "the beautiful" to denote new forms of authority. It manipulates the self-reflexive rhetoric of negation, exemplarity, and voiding to construct both the abject and the beautiful as spaces of undecidability and absence.; In the third and fourth chapters, I demonstrate how wo/ man/ufacture is enacted in both poetic traditions. Chapter III argues that rhapsodic female figures absorb the unrecognized shi's rhetoric of Dao. They function as signifiers of negation and loss in rhapsodists' construction of an ideal shi figure. The effectiveness of shi's subjectivity relies paradoxically on its appropriation and expropriation of the usefulness of feminine nothingness. Chapter IV argues that Ovid's female figures are his subterfuges to articulate the aporia of signification, gender, and authorship. He combines the rhetorical exile of signification (Corinna) and his feminine signatures (Dido and Sappho) to create a unique exilic sentimentality, which constructs the abject poet's aggrandized presence through constant disappearance/absence inscribed in the self-referential representation of an absent beautiful, yet immoral, figure.
机译：本文提出了“人/男人/家具”的概念，以说明男性作家如何为了自我建构（男人/家具）而建构女性形象（女人/家具）。本文通过比较视角来考察这一问题，重点关注汉帝国时期的中国学者官方（石）胡说八道和奥古斯都帝国的罗马精英代表。我认为在他们的诗歌中有五个女性形象的构造：中国汉服（狂想曲）中的女神，世俗的美女和被遗弃的女人，以及罗马爱情挽歌中的情妇奴役者和被遗弃的女人。通过人与人/制造的观念，这项研究创造了新的跨文化和跨时间比较。它还表明了从政治，修辞学和美学角度重新读女性形象的可取性，并为超越“阅读现实”水平的古代“女性”研究做出了贡献；在第一章中，我通过对拉康和德里达对女性形象的使用的女权主义批评，确立了对女性/男性/制造的使用。在第二章中，我认为中国的胡说家和罗马的提倡者也利用女性形象来模仿她们与权力制度有关的身份危机。这种sim贬的诗学创造了“抽象”和“美丽”的复杂象征，以表示新的权威形式。它操纵着否定，模范和虚无的自我反省的修辞，以将外在者和美丽者构造为无法决定和缺乏的空间。在第三章和第四章中，我将展示两种诗歌传统如何体现人与人之间的关系。第三章认为，狂妄的女性形象吸收了史诗的道的言辞。它们在说唱歌手构建理想石像的过程中象征着否定和丧失。 shi的主观性的有效性自相矛盾地取决于它对女性虚无的有用性的侵占和剥夺。第四章认为，奥维德的女性形象是他表达意图，性别和作者地位的空缺的借口。他结合了意向性的修辞流放（Corinna）和女性签名（Dido和Sappho），创造了一种独特的流放感性，通过不断消失/缺席而刻画了这位被屈服的诗人的强化存在，刻画在自我指代中缺乏的美丽，还不道德，人物。

著录项

  • 作者

    Li, Pei-jing Carrie.;

  • 作者单位

    University of Michigan.;

  • 授予单位 University of Michigan.;
  • 学科 Literature Classical.; Literature Comparative.; Literature Asian.
  • 学位 Ph.D.
  • 年度 2001
  • 页码 380 p.
  • 总页数 380
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 世界文学;文学理论;
  • 关键词

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