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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2021.11
- 수록면
- 235 - 260 (26page)
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This paper aims to explore how the new female canon of this period was made and what is the meaning by analyzing the "paratext" of several biographies of notable women in the late Ming, including Guifan(閨範, 1536-1618) of Lü Kun(呂坤, 1536-1618).
Without considering the relativity of the times, he thoroughly established standards that were common in his time and were consistent with his values. So he is critical of the rift between the Han dynasty era and his own, or the new standards of conduct related to women, which are prevalent in some. However, his criticism is sometimes contradictory and divisive, probably because the language in the original is difficult to express the ideal woman he imagines. So he interpreted it as a philosophy of flexibility (quan權) when it was difficult to fully accept the ideals and ethics used in ancient times, which sometimes seem unreasonable. This is because it is impossible for commenting (shu述), that is, those who quote and comment on the original text, and who make their own remarks on its authority, completely deviate from the shadow of the original text.
Besides, we need to pay attention to the difference between paratext and its meaning in Guifan’s different editions. In this paper, the illustrations contained in Baoshan tang(寶善堂) edition and Boru zhai(泊如齋) edition were compared. Baoshan tang illustrations abuse similar ‘basic background’ and sometimes distort some of the story’s meaning. In contrast, the illustrations in the Boru zhai edition avoided provocative and cruel scenes and instead emphasized the character’s inner conflict and included many elements of landscape painting. This, too, seems to have been influenced by illustrations in other genres, such as plays and poems in contemporary time. Contemporary illustrated books have an ‘equalization’ phenomenon that shares the characteristics of the time, regardless of genre or region.itle.
Without considering the relativity of the times, he thoroughly established standards that were common in his time and were consistent with his values. So he is critical of the rift between the Han dynasty era and his own, or the new standards of conduct related to women, which are prevalent in some. However, his criticism is sometimes contradictory and divisive, probably because the language in the original is difficult to express the ideal woman he imagines. So he interpreted it as a philosophy of flexibility (quan權) when it was difficult to fully accept the ideals and ethics used in ancient times, which sometimes seem unreasonable. This is because it is impossible for commenting (shu述), that is, those who quote and comment on the original text, and who make their own remarks on its authority, completely deviate from the shadow of the original text.
Besides, we need to pay attention to the difference between paratext and its meaning in Guifan’s different editions. In this paper, the illustrations contained in Baoshan tang(寶善堂) edition and Boru zhai(泊如齋) edition were compared. Baoshan tang illustrations abuse similar ‘basic background’ and sometimes distort some of the story’s meaning. In contrast, the illustrations in the Boru zhai edition avoided provocative and cruel scenes and instead emphasized the character’s inner conflict and included many elements of landscape painting. This, too, seems to have been influenced by illustrations in other genres, such as plays and poems in contemporary time. Contemporary illustrated books have an ‘equalization’ phenomenon that shares the characteristics of the time, regardless of genre or region.itle.
목차
1. 序言
2. 在竞争中的“列女传”：明代后期诸多“横向文本”的生产
3. 权威编辑的“述”：吕坤的原典批评
4. 从“基本背景”到山水画: 作为话语空间的《闺范》插图
5. 结语
參考文獻
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