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This preliminary essay aims to reveal how the modern subject emerges in the mise en scene of Modern China. Influenced by Michel Foucault's Histoire De La Sexualit?, I argue that the modern romance is a pivotal narrative praxis through which a modern subject is constituted. Before analyzing various lian'ai [赤?] stories, I examine what the ideology of modern love has and its relevance with a new woman, the only qualified object spot by the male intellectuals in the 1920-1930s China.
I demonstrate how the nelogism, "lian'ai" is imported from Japan and circulated. Ellen Key, a swedish feminist, plays a significant role in forming a new code and communication of modern eros. Far from having substantiality or identity, love is constituted through various cultural, ideological apparatus. Differentiated from the premodern 'qing'[sentiments, 情], love becomes unarguably the mark of modernity, associated with autonomousness, equality, or sexual liberation. As much as ambiguous lian'ai is "xin nuxing"[new woman 新女性]. Nora, a heroine of Ibsen's A Doll's House, becomes a prototype of modern individual, and in particular, a modern woman. Among contradictory representations and discriminatory contrast to the old-style woman, “funu”[?女], peasant women, maids, courtesan, in short, subalterns, the new woman is interpellated as the agent of modern eros as well as the agent of the modern nation sate. By eroticizing and articulating new woman's body, the modern male constitutes himself as a modern subject through his voyeuristic gaze. The modernity, lian'ai, and new woman are substantialized through their exclusive interchangeability.
As a whole, love is gendered, requiring more commitment for women to family and nation. So are the modern romances of China.
I demonstrate how the nelogism, "lian'ai" is imported from Japan and circulated. Ellen Key, a swedish feminist, plays a significant role in forming a new code and communication of modern eros. Far from having substantiality or identity, love is constituted through various cultural, ideological apparatus. Differentiated from the premodern 'qing'[sentiments, 情], love becomes unarguably the mark of modernity, associated with autonomousness, equality, or sexual liberation. As much as ambiguous lian'ai is "xin nuxing"[new woman 新女性]. Nora, a heroine of Ibsen's A Doll's House, becomes a prototype of modern individual, and in particular, a modern woman. Among contradictory representations and discriminatory contrast to the old-style woman, “funu”[?女], peasant women, maids, courtesan, in short, subalterns, the new woman is interpellated as the agent of modern eros as well as the agent of the modern nation sate. By eroticizing and articulating new woman's body, the modern male constitutes himself as a modern subject through his voyeuristic gaze. The modernity, lian'ai, and new woman are substantialized through their exclusive interchangeability.
As a whole, love is gendered, requiring more commitment for women to family and nation. So are the modern romances of China.
목차
1. 서론: 근대의 성과 사랑, “리엔아이”
2. 본론: “리엔아이”(연애)의 이데올로기
3. 결론: 중국 현대 로맨스
〈參考文獻〉
〈ABSTRACT〉
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