Gendered Persona and Poetic Voice The

Gendered Persona and Poetic Voice considers the effects on poetic voice of a conventional feminine persona, the abandoned woman, in early Chinese song lyric (ci) poems. The author reads the literary cross-dressing and ventriloquism of these mostly male-authored poems in light of the highly indeterminate Chinese poetic language, resulting in a consideration of persona and poetic voice of interest to scholars of lyric poetry in any language.

Maija Bell Samei received her Ph.D. in Chinese literature from the University of Michigan

Dedication

v

Acknowledgments

ix

Introduction: Voice, Persona, and Gendered Convention: Who is Speaking?

1

(5)

Why Female Voice?

6

(10)

Contradictions and Paradoxes

16

(5)

Voice Meets Convention, Persona, and Gender: Who is Speaking?

21

(7)

Imitation, Ventriloquism, Cross-Dressing, Impersonation: Men Writing as Women

28

(15)

``A Thousand, Ten Thousand Resentments'': The Story of a Convention

43

(1)

PART ONE: History of the Abandoned Woman Convention

44

(30)

Roots of the Persona

44

(9)

Development of the Persona

53

(12)

Aside---Women Poets

65

(9)

PART TWO: The Rise of the Ci

74

(123)

Conclusion

84

(7)

Magpies, Water Clocks and Lies: ``Images'' of Voice

91

(66)

Non-Ci Complaints Preceding the Rise of the Ci

99

(4)

Miscellaneous Early Ci and Dunhuang Complaints

103

(13)

Aside---More Women Poets

116

(3)

The Huajian ji

119

(19)

The Zunqian ji

138

(3)

The Southern Tang Poets

141

(8)

Conclusion

149

(8)

The Abandoned Woman as Object, Topos, and Ventriloquist's Puppet

157

(40)

Object

159

(3)

Persona

162

(14)

Topos

176

(14)

Conclusion

190

(7)

Conclusion

197

(6)

Appendix: Alphabetical List of Tune Title Translations

203

(2)

Bibliography

205

(10)

Index

215

(4)

About the Author

219

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Gendered Persona and Poetic Voice The Abandoned Woman in Early Chinese Song Lyrics

Summary

Author Biography

Table of Contents

Supplemental Materials