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This present study was aimed to examine the process, significance, and socio-cultural implication of ‘a virtuous woman’ project that took place in Yongkang(永康), China, in the 19th century. Wu Zongai (吳宗愛, 1650-1674), who was a female poet and painter in the early Qing Dynasty in China, had been only remembered as a talented woman artist until the early 19th century. However, it was found by men of letters including Wu Tingkang(吳廷康, 1799-1887) that she committed a suicide, resisting a rebellion in the mid 19th century. From then, the collection of her poems was reprinted and even a play based on her story was performed. A number of writers took part in the process of publishing her collection and writing the play, ascertaining the historical truths of her life, and annotated her poems. Through this process, Wu Zongai, who had been simply known as a talented women, even common during the Qing Dynasty, was incarnated to ‘a women’s virtue’ and ultimately reborn to a symbol of a great cause to realize public value. Although female poets and artists had been described as individuals independent or separated from their families and domestic duties until the early 19th century, the discourse of women’s writing rapidly turned conservative and traditional from the mid-nineteenth century. Wu Zongai is also one of the cases following this track of change. However, this ‘project to make a virtuous woman’ contains another socio-cultural implication. Initially, it was officials’ duty to find a virtuous woman and officially announce that she was so. The gentry including Wu Tingkang announced Wu Zongai was ‘a virtuous woman’ on behalf of the officials who didn’t do their job properly. And their publication became a sort of a ritual. The gentry attempted to expand the domain of their public activity through this process. This phenomenon brought out when Qing Dynasty faced a crisis and as a result part of its power was transferred to the local gentry. At the same time, racial conflict, which had been dormant, surfaced and the gentry did not consider Qing Dynasty as subject for their loyalty. Although the community of the gentry was formed on private relationship, they wanted to verify they could realize their public value. The entanglement of ‘public’ and ‘private’ was an omnidirectional phenomenon in the Chinese society during the 19th century and it was the origin from which Wu Zongai turned to ‘Xu liefu (徐烈婦)’.
목차
1. 서론
2. 『吳絳雪詩集』과 『桃谿雪』
3. 淸의 여성 글쓰기 담론과 才女 吳宗愛
4. 시인에서 烈女로 : ‘吳宗愛’의 재구성
5. ‘儀式’으로서의 출판, 公과 私의 錯綜
5. 결론
【參考文獻】
【Abstract】
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UCI(KEPA) : I410-ECN-0101-2017-820-001380724