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Wai-Yee Li, 'The Late Ming Courtesan: Invention of a Cultural Ideal', in Ellen Widmer and Kang-i Sun Chang (eds), Writing Women in Late Imperial China (Stanford: Stanford University Press, 1997), pp. 46-73. For a visual interpretation of the courtesan's representation, see Lara C. W. Blanchard, 'A Scholar in the Company of Female Entertainers: Changing Notions of Integrity in Song to Ming Dynasty Painting', Nan Nü 9 (2007189-246.
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Catherine V. Yeh, Shanghai Love: Courtesans, Intellectuals, and Entertainment Culture, 1850-1910 (Seattle: University of Washington Press2006).
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In urban history one work stands out in this regard: Si-yen Fei, Negotiating Urban Space: Urbanization and Late Ming Nanjing (Cambridge: Harvard University Asia Center
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In urban history one work stands out in this regard: Si-yen Fei, Negotiating Urban Space: Urbanization and Late Ming Nanjing (Cambridge: Harvard University Asia Center2009).
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Yu, W.1
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See Ina Asim's project Viewed at a workshop with Dorothy Ko, University of Warwick, 26 May
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(1558-1639) and Wang Shixing (1547-1598), tr. in Sarah Dauncey, 'Illusions of Grandeur', East Asian History
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Chen Jiru (1558-1639) and Wang Shixing (1547-1598), tr. in Sarah Dauncey, 'Illusions of Grandeur', East Asian History 25-26 (2003 43-68
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Ko1
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Anne Gerritsen, 'Searching for Gentility: The Nineteenth-Century Fashion for the Late Ming', in Daria Berg and Chloe Starr (eds), The Quest for Gentility in China: Negotiations beyond Gender and Class (London: Routledge2007188-207
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Oki Yasushi, 'Mao Xiang and Yu Huai: Early Qing Romantic yimin', in Wilt L. Idema, Wai-yee Li and Ellen Widmer (eds), Trauma and Trascendence in Early Qing Literature (Cambridge: Harvard University Asia Center2006231-48.
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Paola Zamperini, Lost Bodies: Prostitution and Masculinity in Chinese Fiction (Leiden: Brill, esp. on qinglou wenxue ('blue pavilions literature6-20.2010
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Pi-ching Hsu, 'Courtesans and Scholars in the Writings of Feng Menglong: Trascending Status and Gender', Nan Nü 2 (200040-77
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Oki Yasushi, Fengyue Qinhuai: Zhongguo you li kong jian, tr. into Chinese by Xin Ruyi (Taipei: Lian jing chu ban shi ye gu fen you xian gong si200743-54
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Yeh, Shanghai Love For Yu Huai, see also Emanuel Pastreich, 'The Pleasure Quarters of Edo and Nanjing as Metaphor: The Records of Yu Huai and Narushima Ryuhoku', Monumenta Nipponica, 55 (), pp. 199-224, in which the author shows the profound influence that 'Diverse Records' published in Japan in the nineteenth century had on the conception of the Edo pleasure quarter, as seen in the work by the Japanese author Narushima Ryuhoku (18371884).182-32000
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Zhou Lianggong (1612-1672) and the Painters of Seventeenth-Century China (New York: China Institute in America, 1996), pp. 24-39. For spatial control and gender, see Doreen Massey, Space, Place and Gender (Cambridge: Polity
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Kim Hongnam, The Life of a Patron: Zhou Lianggong (1612-1672) and the Painters of Seventeenth-Century China (New York: China Institute in America, 1996), pp. 24-39. For spatial control and gender, see Doreen Massey, Space, Place and Gender (Cambridge: Polity1994180.
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Ma Shouzhen, 'Zhi Wang Baigu shu'; Judith T. Zeitlin, '"Notes of Flesh" and the Courtesan's Song in Seventeenth-Century China', in Feldman and Gordon (eds), Courtesan's Arts, pp. 75-104, here p. 77; Ko, Teachers of the Inner Chambers266-74.
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in Sherry Mou, Presence and Presentation: Women in the Chinese Literati Tradition (Basingstoke: Macmillan
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Sophia Sufen Lai, 'From Cross-dressing Daughter to Lady Knight-errant: The Origin and Evolution of Chinese Women Warriors', in Sherry Mou, Presence and Presentation: Women in the Chinese Literati Tradition (Basingstoke: Macmillan199977-106
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the Chinese Transformation of Avalokitesvara (New York: Columbia University Press, 2001), pp. 419-38. There is a straightforward connection between Buddhist temples and sex, see Luo Xiaoxiang, From Imperial City to Cosmopolitan Metropolis: Culture, Politics and State in Late Ming Nanjing (unpublished PhD thesis, Duke University
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Chun-Fang Yu, Kuan-yin, the Chinese Transformation of Avalokitesvara (New York: Columbia University Press, 2001), pp. 419-38. There is a straightforward connection between Buddhist temples and sex, see Luo Xiaoxiang, From Imperial City to Cosmopolitan Metropolis: Culture, Politics and State in Late Ming Nanjing (unpublished PhD thesis, Duke University200657-8
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Constructing New Reading Publics in Late Ming China
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(Beijing: Zhinghua shuchu, I will further discuss Ma's drama elsewhere; Qian, Liechao shiji, juan 4, 36a
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Hu Wenhuan Qunyin leixuan (Beijing: Zhinghua shuchu, I will further discuss Ma's drama elsewhere; Qian, Liechao shiji, juan 4, 36a.1980930-3
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82555194145
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Lucille Chia, 'Of Three Mountains Street: Commercial Publishers in Ming Nanjing', in Brokaw and Chow (eds), Printing and Book Culture in Late Imperial China, pp. 107-151, here p. 107. See also Luo, From Imperial City to Cosmopolitan Metropolis38.
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E.g., she is a mingji in Yu, Banqiao Zaji, p. 47; a Jinlin ji in Jiang Shaoshu (ed.), Wusheng Shishi (17th c., Shanghai: Huashi Congshu
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Fei, Negotiating Urban Space, pp. 123-4, 154-5. Woyou is often found in painting discussions. See Susan Bush and Hsio-yen Shih, Early Chinese Texts on Painting (Cambridge: Harvard University Press
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Fei, Negotiating Urban Space, pp. 123-4, 154-5. Woyou is often found in painting discussions. See Susan Bush and Hsio-yen Shih, Early Chinese Texts on Painting (Cambridge: Harvard University Press198536-8
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For a discussion of you in painting, see also Clunas, Empire of Brightness, ch. 2
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For a discussion of you in painting, see also Clunas, Empire of Brightness, ch. 253-83.
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82555189847
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Beijing: Siku chuhui shu congkan, Wang Zhideng also wrote Ma's biography; due to the complexity of the text, it will be treated elsewhere
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It is very probable that Ma Shouzhen saw paintings by Guan Daosheng, given the resemblance of Ma's piece in the Rijskmusuem discussed below and the painted attributed to Guan Daosheng kept in the Palace Museum in Taipei, Taiwan. See the silk fan painted by a Qing dynasty woman painter (inscription: 'Following the style of Ma Shouzhen'), in Ka Bo Tsang, More than Keeping Cool: Chinese Fans and Fan Paintings (Toronto: Royal Ontario Museum
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It is very probable that Ma Shouzhen saw paintings by Guan Daosheng, given the resemblance of Ma's piece in the Rijskmusuem discussed below and the painted attributed to Guan Daosheng kept in the Palace Museum in Taipei, Taiwan. See the silk fan painted by a Qing dynasty woman painter (inscription: 'Following the style of Ma Shouzhen'), in Ka Bo Tsang, More than Keeping Cool: Chinese Fans and Fan Paintings (Toronto: Royal Ontario Museum200241-2.
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