Courtesan editor: Sexual politics in early modern China

T'oung Pao

Volumn 99, Issue 1-3, 2013, Pages 173-211

  Berg, Daria ^a  

^a UNIVERSITY OF ST GALLEN   (Switzerland)

Author keywords

beauty ideals; Courtesan; editor; femininity; gender; gentility; literati culture; sexual politics; social change; women's culture; Xue Susu

Indexed keywords

EID: 84893563639     PISSN: 00825433     EISSN: 15685322     Source Type: Journal    
DOI: 10.1163/15685322-9913P0005     Document Type: Article

References (232)

1. On Chen Jiru, see Oki Yasushi, "Yamabito Chin Keiju to sono shuppan katsudo", in Mindaishi ronso: Yamane Yukio kyoju taikyu kinen, ed. Mindaishi kenkyukai et al. (Tokyo: Kyuko shoin, 1990), 1233-52
2. Eminent Chinese of the Ch'ing Period, 1644-1912, ed. Arthur W. Hummel (Washington, DC: Government Printing Office, 1943-44) [hereafter ECCP ], 87-8.
3. Chen Jiru, Yan qi you shi, Xiushui Shenshi ed., 1573-1619
4. Siku quanshu cunmu congshu (Jinan: Jilu shushe, 1995-97), 15a
5. cf. Yang Ye, Vignettes from the Late Ming (Seattle: Univ. of Washington Press, 1999), 39. All translations are my own except where otherwise indicated.
6. Cf. Zuyan Zhou, Androgyny in Late Ming and Early Qing Literature (Honolulu: Univ. of Hawai'i Press, 2003), 18.
7. Cf. Allan Barr, "The Wanli Context of the 'Courtesan's Jewel Box' Story," Harvard Journal of Asiatic Studies 57.1 (1997), 107-41, esp. 114
8. Daria Berg, Carnival in China: A Reading of the Xingshi yinyuan zhuan (Leiden: Brill, 2002), 323-54
9. Goyama Kiwamu, Min Shin jidai no josei to bungaku (Tokyo: Kyuko shoin, 2006), 521.
10. On Xue Susu's poetry, see Daria Berg, "Cultural Discourse on Xue Susu, a Courtesan in late Ming China," International Journal of Asian Studies 6.2 (2009): 171-200.
11. Zhu Yizun, Ming shi zong (Kangxi ed., preface 1705 rpt. Taibei: Shijie shuju, 1962), 98.5a
12. Shi Yude, Ming yuan ya ge (Zhengzhou: Zhongzhou guji chubanshe, 1999), 790-93.
13. Laura Mulvey, "Visual Pleasure and Narrative Cinema," Screen 16.3 (1975): 6-18.
14. Hans Walter Gabler, "Thoughts on Scholarly Editing: A Review Article Occasioned by Paul Eggert, Securing the Past: Conservation in Art, Architecture and Literature. Cambridge: Cambridge University Press 2009," Journal of Literary Theory (JLTonline), 12, http://www.jltonline.de/, accessed 5 April 2011, 13-14.
15. Gabler, "Thoughts," 13-14. On the definition of the "work," see below.
16. "The editor as editor, when setting out to engage with the work in the tangible materiality of its text(s), must make sense of it, and so read the work across the range of textual representations available to be considered as basis for the editing. To such a degree, the editor does engage as a reader with the meaning of the work." Gabler, "Thoughts," 12.
17. See, for example, Writing Women in Late Imperial China, ed. Ellen Widmer and Kang-i Sun Chang (Stanford: Stanford Univ. Press, 1997)
18. Dorothy Ko, Teachers of the Inner Chambers: Women and Culture in Seventeenth-Century China (Stanford: Stanford Univ. Press, 1994)
19. The Inner Quarters and Beyond: Women Writers from Ming through Qing, ed. Grace S. Fong and Ellen Widmer (Leiden: Brill, 2010)
20. Susan Mann, Precious Records: Women in China's Long Eighteenth Century (Stanford: Stanford Univ. Press, 1997)
21. Grace Fong, Herself an Author: Gender, Agency, and Writing in Late Imperial China (Honolulu: Univ. of Hawai'i Press, 2008).
22. Cf. Kang-i Sun Chang, "Ming and Qing Anthologies of Women's Poetry and Their Selection Strategies," in Writing Women in Late Imperial China, 147-70
23. id., The Late Ming Poet Ch'en Tzu-lung: Crises of Love and Loyalism (New Haven: Yale Univ. Press, 1991), 9-18.
24. For a reconstruction and analysis of Xue Susu's poetry, see Berg, "Cultural Discourse."
25. For similar uses of the notion of "early modern," see Paul S. Ropp, Dissent in Early Modern China: "Ju-lin wai-shih" and Ch'ing Social Criticism (Ann Arbor: Univ. of Michigan Press, 1981)
26. Jonathan Spence, The Search for Modern China (London: Hutchinson, 1990)
27. Craig Clunas, Superfluous Things: Material Culture and Social Status in Early Modern China (Honolulu: Univ. of Hawai'i Press, 2004), xvi.
28. Haun Saussy, The Problem of a Chinese Aesthetic (Stanford: Stanford Univ. Press, 1993), 125.
29. Saussy, Aesthetic, 59.
30. "Any one text, whether it has come down derivatively through transmission, or in a manuscript layered in revisions, or by way of oral performance, instantiates the work." Gabler concludes that "the work exists but immaterially, even as it constitutes the energizing centre of its textual representations." In his view, then, "the notion of 'work' as an immaterial entity is the pre-condition for seeing the 'work' endowed with an energy to hold together its instantiations as texts." Gabler, "Thoughts," 9.
31. Glen Dudbridge, Religious Experience and Lay Society in T'ang China: A Reading of Tai Fu's Kuang-i chi (Cambridge: Cambridge Univ. Press, 1995), 1-17.
32. This style of analysis parallels Stephen Greenblatt's analysis of voices in Elizabethan drama; see Stephen Greenblatt, Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England (Oxford: Clarendon Press, 1988), 1.
33. Cf. The New Shorter Oxford English Dictionary, ed. Lesley Brown (Oxford: Clarendon Press, 1993), vol. 1, 785.
34. Qian Qianyi, preface to Chen Yunheng, 4a. The term bianji occurs in the biography of Li Yanzhi in Wei shu (Beijing: Zhonghua shuju, 1974), 82.1798
35. and in the preface to Tang dynasty calligrapher-governor Yan Zhenqing (708/9-784/5), Gan lu zi shu (Siku quanshu, herafter SKQS), 'Xu ', 1b (224.244).
36. On editorship in China, see Tobie Meyer-Fong, "Packaging the Men of our Times: Literary Anthologies, Friendship Networks, and Political Accommodation in the Early Qing," Harvard Journal of Asiatic Studies, 64.1 (2004): 5-56.
37. See Robert Joe Cutter, "Ts'ung shu ," in The Indiana Companion to Traditional Chinese Literature, ed. William H. Nienhauser, Jr (Bloomington: Indiana Univ. Press, 1986), 810.
38. Meyer-Fong, "Packaging," 5-56.
39. Kang-i Sun Chang, "Ming and Qing Anthologies of Women's Poetry and Their Selection Strategies," in Writing Women in Late Imperial China, 147-70
40. Dorothy Ko, "The Written Word and the Bound Foot: A History of the Courtesan's Aura," in Writing Women, 74-100, esp. 80
41. Dorothy Ko, Teachers of the Inner Chambers; Ellen Widmer, "Retrieving the Past: Women Editors and Women's Poetry, 1636-1941," in The Inner Quarters and Beyond, 81-105
42. Susan Mann, Precious Records, 94-117
43. Grace Fong, Herself an Author, 129-58.
44. For example, Huang Dezhen, Gui Shufen, Shen Hui, Sun Huiyuan, Shen Li, and Shen Zhenyong, who worked in teams to co-edit anthologies of women's poetry; cf. Hu Wenkai, Lidai funü zhuzuo kao, rev. ed. (Shanghai: Shanghai guji chubanshe, 1985), 899-900.
45. On Wang Duan, see Ellen Widmer, "Ming Loyalism and the Women's Voice in Fiction after 'Hong lou meng'," in Writing Women in Late Imperial China, 366-96.
46. Kate Millett, Sexual Politics (London: Virago, 1970), xix and 23.
47. Richard Dunphy, Sexual Politics: An Introduction (Edinburgh: Edinburgh Univ. Press, 2000), 19
48. Joseph Bristow, Sexuality (London: Routledge, 1997), 169.
49. Naifei Ding, Obscene Things: Sexual Politics in Jin Ping Mei (Durham, N.C.: Duke Univ. Press, 2002), xiii and xv.
50. On editing as a web of discourses, see Hans Walter Gabler, "Theorizing the Scholarly Edition," Literature Compass 7.2 (2010), 43-56, esp. 44.
51. Gabler, "Thoughts," 13. In the context of the Shijing, Haun Saussy has defined "work"-in his words, the "reader's work that produces empire"-as "thematization," noting that "work" "is the name for a whole appropriative and figurative strategy."
52. Saussy, Aesthetic, 119-20.
53. Cf. Berg, "Cultural Discourse," 189.
54. On Ma Xianglan, see Wilt Idema and Beata Grant, The Red Brush: Writing Women of Imperial China (Cambridge, Mass.: Harvard Univ. Asia Center, 2004), 364-68.
55. For an in-depth study of Dong Xiaowan, see Oki Yasushi, Bo Jo to "Eibaian okugo" no kenkyu (Tokyo: Kyuko shoin, 2010).
56. On Liu Rushi, see e.g. Chen Yinke, Liu Rushi bie zhuan (Shanghai: Shanghai guji chubanshe, 1980)
57. Chang, The Late Ming Poet Ch'en Tzu-lung.
58. Cf. Berg, "Cultural Discourse." It is unlikely that Xue Susu was born much before the early 1570s, as it would have been rather untypical to have been much senior to her husbands, for example Shen Defu, who was born in 1578.
59. Zhu Yizun, Ming shi zong, 98.5a.
60. On Dong Qichang, see ECCP, 787-89.
61. On Shen Defu, see Dictionary of Ming Biography 1368-1644, ed. Carrington L. Goodrich and Chao-ying Fang (New York: Columbia Univ. Press, 1976) [hereafter DMB], 1190-91.
62. On Li Chengliang, see ECCP, 450-2
63. Barr, The Wanli Context 122
64. on Li Hualong, see DMB, 822-26. For this I am indebted to Allan Barr, personal communication.
65. Qian Qianyi, Liechao shiji xiaozhuan (Shanghai: Gudian wenxue chubanshe, 1957) [hereafter LCSJXZ], 770.
66. For a list of her paintings, see He Junhong, "Ming Qing jiancangjia dui nühuajia xiaopin de jianshang", Gugong bowuyuan yuankan 111.1 (2004): 28-39, esp. 38.
67. Yun Zhu, Guochao guixiu zhengshi ji (Beijing: Hongxiang guan, 1831-36), fulu.16b.
68. LCSJXZ, 770.
69. Ko, Teachers, 285-90.
70. see LCSJXZ, 760-1
71. Hu Wenkai, Lidai funü, 88-90
72. Women Writers of Traditional China: An Anthology of Poetry and Criticism, ed. Kang-i Sun Chang and Haun Saussy (Stanford: Stanford Univ. Press, 1999), 320-29.
73. LCSJXZ, 761.
74. Ko, Teachers, 286-87.
75. Ko, Teachers, 286.
76. Kang-i Sun Chang, "A Guide to Ming Ch'ing Anthologies of Women's Poetry and their Selection Strategies," Gest Library Journal 5.2 (1992): 119-60, esp. 128
77. id. Ming and Qing Anthologies 153-56.
78. See also Ellen Widmer, "The Epistolary World of Female Talent in Seventeenth-Century China," Late Imperial China 10.2 (1989): 1-43, esp. 14.
79. Chang, "Ming and Qing Anthologies," 153.
80. Hu Wenkai, Lidai funü, 433.
81. LCSJXZ, 813.
82. LCSJXZ, 814
83. translated by Yu-Shih Chen, in Chang and Saussy, Women Writers, 700.
84. Wang Duanshu, for example, labored on her monumental anthology of women's poetry from 1639 to 1664 with a team of helpers; cf. Ellen Widmer, "Retrieving the Past," 84-87.
85. Idema and Grant, Red Brush, 359ff.
86. Wang Shilu, Ran zhi ji, cited in Wang Chutong, Lian shi (rpt. Beijing: Shumu wenxian chubanshe, 1987), 92.2a-b.
87. For a similar record from 1702, see Wang Shizhen, Xiangzu biji, 1702 edition (SKQS), 8.23a
88. cf. Hu Wenkai, Lidai funü, 203.
89. See Xu Wei's drama Si sheng yuan, in Xu Wei, Xu Wenchang wen ji, ed. Yuan Hongdao, collated (xiaoding) by Min Demei, 1614 edition (Xuxiu siku quanshu).
90. Hanan, The Chinese Vernacular Story (Cambridge, Mass.: Harvard Univ. Press, 1981), 141-42.
91. Wang Lu, zi Zhongzun . On Wang Renyu, see Glen Dudbridge, "The Rhetoric of Loyalty and Disloyalty in Five Dynasties China," Journal of Chinese Studies Special Issue: Institute of Chinese Studies Visiting Professor Lecture Series (II) (Hong Kong: Chinese University Press, 2009): 155-79.
92. Gabler, "Thoughts," 9.
93. Cf. Oki Yasushi, Chugoku yuri kukan: Min Shin Shinwai gijo no sekai (Tokyo: Seidosha, 2002), 228-33
94. Goyama, Min Shin jidai no josei to bungaku, 68-109
95. Ko, The Written Word 82-6
96. Judith T. Zeitlin, "'Notes of Flesh' and the Courtesan's Song in Seventeenth-Century China," in The Courtesan's Arts: Cross-Cultural Perspectives, ed. Martha Feldman and Bonnie Gordon (Oxford: Oxford Univ. Press, 2006), 75-99.
97. Wang Lu, Hua shi zuo bian, Wanli ed. (Shanghai: Shanghai guji chubanshe, 2002) [hereafter HSZB], 1-4.
98. See also Yang, Vignettes from the Late Ming, 36-37.
99. HSZB, 1-4.
100. See Wang Hao et al., Guang qunfang pu (rpt. Taibei: Taiwan shangwu yinshuguan, 1968), 28.669
101. Hua Ximin, Guang shilei fu (rpt. Shanghai: Shanghai guji chubanshe, 1995-2002), 33.2a-b.
102. Chen Jiru, "Ti Wang Zhongzun Huashi", in id., Wanxiang tang ji, Chongzhen (1628-1644) ed., rpt. in Siku jinhuishu congkan (Beijing: Beijing chubanshe, 2000), jibu, vol. 66, 10.2a.
103. Xu Shumin and Qian Yue, comp., Zhongxiang ci, Kangxi ed., ca. 1690 (Shanghai: Dadong shuju, 1934), 6.6b
104. Hu Wenkai, Lidai funü, 203.
105. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (London: Routledge, 1990), 25.
106. Judith Butler, Bodies that Matter (London: Routledge, 1993), 95.
107. Cf. Daria Berg, "Female Self-Fashioning in Late Imperial China: How the Gentlewoman and the Courtesan Edited Her Story and Rewrote Hi/story," in Reading China: Fiction, History and the Dynamics of Discourse-Essays in Honour of Professor Glen Dudbridge, ed. Daria Berg (Leiden: Brill, 2007), 238-89
108. Fong, Herself an Author, 130-32.
109. Kafalas, "Weighty Matters," 50.
110. Kafalas, "Weighty Matters," 52.
111. Carol Hanish, "The Personal is Political," in Notes from the Second Year: Women's Liberation: Major Writings of the Radical Feminists, ed. Shulamith Firestone et al. (New York: Radical Feminism, 1970), rpt. CarolHanish.org, http://carolhanisch.org/CHwritings/PIP.html, accessed 8 January 2013.
112. See Bo Juyi, "Ni shang yu yi ge", Quan Tang shi (Beijing: Zhonghua shuju, 1985) [hereafter QTS], 444.4970-71.
113. See Zhou Mi, "Ge guan", in his Wulin jiushi (Biji xiaoshuo daguan xubian ed., Taibei: Xinxing shuju, 1962), 2:2251.
114. On the meaning of hua see also Goyama, Min Shin jidai josei, 88.
115. Cf. Catherine Ye, Shanghai Love: Courtesans, Intellectuals, and Entertainment Culture, 1850-1910 (Seattle: Univ. of Washington Press, 2006), 218.
116. Xue Susu, Hua suo shi, in Shuibian linxia, ed. Hunan manshi (n.d., rpt. Beijing: Shumu wenxian chubanshe, 1998) [hereafter HSS], A1.1a; A10.2b; A15.3b; A17.3b-4a. [Vignettes are numbered A1-A18, followed by the original page reference]
117. HSS, A1.1a.
118. see for example Hua Ximin, Guang shilei fu, 33.2a-b.
119. "Mei zan", HSZB, 11.4a
120. "Zhang Maoqing" HSZB, 17.4b/5a.
121. See Chen Jiru, Zhi fu qi shu (Qianlong ed.), 44.97
122. and an anonymous work on ninety-two kinds of flowers, the Ming hua pu (Qing ed.), 11.25.
123. Judith Zeitlin, Historian of the Strange: Pu Songling and the Chinese Classical Tale ( Stanford: Stanford Univ. Press, 2003), 61-97 on flower obsession see 63-64, 81-82; 93-94.
124. Cf. Zeitlin, Historian of the Strange, 64.
125. Chen Jiru, "Ti Wang Zhongzun Hua shi," 10.2a.
126. See also Yang, Vignettes from the Late Ming, 36.
127. Cf. Chun-shu Chang and Shelley Hsueh-lun Chang, Crisis and Transformation in Seventeenth- Century China: Society, Culture, and Modernity in Li Yü's World (Ann Arbor: Univ. of Michigan Press, 1992), 158, 281.
128. On Li Yu, see also Patrick Hanan, The Invention of Li Yu (Cambridge, Mass.: Harvard Univ. Press, 1981).
129. See Pu Songling, Liao zhai zhi yi (Shanghai: Shanghai guji chubanshe, 1962, rpt. 1978), "Pianpian", 3.432-36
130. "Guayi", 4.443
131. "Hanyue fuqu" 4.579-81
132. "Hehua sanniangzi" 5.682-68
133. "Jiangfei" ("Huashen" 6.739-46)
134. Jushu 7.924-5
135. "Lu yaguan" 8.1146-48
136. Gejin 10.1436-43
137. Huangying 11.1446-52
138. Xiangyu 11.1548-55.
139. See also Zeitlin, Historian oft he Strange, 72-73, 82.
140. Cf. Wolfram Eberhard, Lexikon chinesischer Symbole, 2nd ed. (Köln: Eugen Diederichs Verlag, 1985), 157.
141. The polygamists appear as scholar-officials in HSS A4.1b; A6.1b-2a; A17.3b-4a
142. as emperors in HSS A5.1b; A11.2b; A12.2b-3a; A14.3a; A15.3b; A16.3b.
143. Keith McMahon, Misers, Shrews, and Polygamists: Sexuality and Male-Female Relations in Eighteenth-Century Chinese Fiction (Durham: Duke Univ. Press, 1995), 6.
144. McMahon, Misers, 16.
145. HSS A3.1a-b; A4.1b; A5.1b; A6.1b-2a; A11.2b; A12.2b-3a; A14.3a; A15.3b; A16.3b; A17.3b-4a.
146. HSS A4.1b.
147. see Yenna Wu, The Chinese Virago (Cambridge, Mass.: Harvard Univ. Press, 1995), 75-6.
148. Translated by Wu, Virago, 206-7.
149. "She fu," HSZB, 12.6a
150. Wang Chutong, Lian shi, 52.414 (citing Hua shi as its source).
151. HSS A12.2b-3a.
152. Wang Renyu, Kaiyuan tianbao yishi (SKQS) [hereafter KTYS], 1.4b.
153. "Die xing", HSZB, 12.5b.
154. KTYS, 1.4b.
155. Ding, Obscene Things, 165.
156. Ding, Obscene Things, xxiii, 195.
157. Ding, Obscene Things, xxiv, 108, 196, 222.
158. Ding, Obscene Things, 194.
159. Ding, Obscene Things, 189. Emphasis in the original.
160. Fong, Herself an Author, 5.
161. HSS A5.1b.
162. KTYS, 1.3a.
163. Wu Renchen, Shiguo chunqiu (rpt. Beijing: Zhonghua shuju, 1983), 18.269
164. on Wu Renchen, see ECCP, 870.
165. Wang Chutong, Lian shi, 68.34a-b
166. Shi Menglan, Quanshi gongci (rpt. Beijing: Da Zhong wenyi chubanshe, 1999), 15.206.
167. HSS, A11.2b.
168. Adapted from Dore Levy, "Cai Yan (176?-early 3rd century)," in Chang and Saussy, Women Writers, 28
169. Maoshi zhengyi (Shisan jing zhushu, rpt. Beijing: Zhonghua shuju, 1983), 1:326-27.
170. QTS, 435.4820.
171. Cf. Daria Berg, "Cultural Discourse," 182.
172. KTYS, 2.3b.
173. Shen Yixiu, Li chui, in Ye Shaoyuan, ed., Wumeng tang ji (preface 1636) (Beijing: Zhonghua shuju, 1998), 1.32
174. translated in Chang and Saussy, Women Writers, 268.
175. For later sources, see below. The story of "the gorgeous and graceful Lady Li" was popular among late Ming readers and is for example included in Feng Menglong's (1574-1646) collection of love stories Qing shi (1628)
176. see Feng Menglong, "Lijuan Li furen", in Feng Menglong quanji, ed. Wei Tongxian (Shanghai: Shanghai guji chubanshe, 1993), vol. 37, 6.1a-3a.
177. See Ko, Teachers, 143-76.
178. HSS, A14.3a.
179. Cf. Thomas E. Smith, "Dongming ji: Records of Penetration into the Mysteries," in The Encyclopedia of Taoism, ed. Fabrizio Pregadio (London: Routledge, 2008), 367-68.
180. HSZB, 12.2a/b
181. Xia Shufang, Cilin haicuo (Beijing: Beijing chubanshe, 2000), 14.2b-3a
182. Chen Yuanlong, Gezhi jingyuan (SKQS ed.), 71.21a
183. Yu Duanshi, Shijie qihou chao (Siku weishou shu jikan ed.) 1.8b-9a.
184. Also known as Li Sun, "Fen yuan shi san shou", QTS, 597.6909.
185. Wang Lu adds one line: "From the time of the gorgeous and graceful [Lady Li] onwards the rose was called the flower of selling smiles." HSZB, 12.134.
186. Hu Yinglin, "Wei Xingfu zeng xi qu Xue sheng", in Shaoshi shanfang ji vol. 1290 (Taibei: Taiwan shangwu yinshu guan, 1986), 59.3a.
187. Hu Yinglin, "Lu he ya bie Wang Xingfu, Yuan Weizhi, Li Benjian, Xu Xiangxian si jueju", Shaoshi shanfang ji, 78.5b.
188. LCSJXZ, 770.
189. Xu Shumin and Qian Yue, Zhongxiang ci, 6.6b-7a.
190. Mann, Precious Records, 135.
191. On late Ming perceptions of decadence, see Berg, Carnival, 19-32.
192. On the publishing boom, see Oki Yasushi, Chugoku Minmatsu no media kakumei: shomin ga hon o yomu (Tokyo: Tosui shobo, 2009).
193. Cf. Meyer-Fong, "Packaging the Men of our Times," 11-12
194. Qian Qianyi's preface to Chen Yunheng, Shi wei chuji (Siku jinhuishu congkan, jibu, vol. 56), 4a.
195. The Sanyan collections, by Feng Menglong, are: Gujin xiaoshuo
196. also known as Yushi mingyan, ca. 1620
197. Jingshi tongyan, 1624
198. Xingshi hengyan 1627
199. Erpai volumes, by Ling Mengchu, are: Paian jingqi 1628
200. Erke Paian jingqi, 1632.
201. Cf. Patrick Hanan, The Chinese Vernacular Story; Wilt Idema Chinese Vernacular Fiction: The Formative Period (Leiden: Brill 1974).
202. Cf. Yenna Wu, "Vernacular Stories," in The Columbia History of Chinese Literature, ed. Victor Mair (New York: Columbia Univ. Press, 2001), 599-610.
203. Gujin tankai, 1620
204. Zhi nang, 1626
205. Taiping guangji chao, 1626
206. Qing shi, 1628
207. Zhi nang bu, 1634.
208. Cf. Y.W. Ma Feng Meng-lung Indiana Companion 381.
209. On Feng Menglong, see Kai-wing Chow, Publishing, Culture, and Power in Early Modern China (Stanford: Stanford Univ. Press, 2004), 125-6
210. Oki Yasushi, "Minmatsu Konan ni okeru shuppan bunka no kenkyu", Hiroshima daigaku bungakubu kiyo 50.1 (1991), 74-102.
211. On the Ling and Min publishing houses, see Y.W. Ma and Wilt Idema, "Ling Meng- ch'u," Indiana Companion, 571.
212. Joseph P. McDermott, A Social History of the Chinese Book: Books and Literati Culture in Late Imperial China (Hong Kong: Hong Kong Univ. Press, 2006), 110.
213. McDermott, Social History, 109.
214. McDermott, Social History, 110 and 233, n. 141.
215. On Tang Binyin, see Kim Bunkyo, "To Hin.in to Minmatsu no shogyo shuppan", in Chuka bunjin no seikatsu, ed. Arai Ken (Tokyo: Heibonsha, 1994), 339-81.
216. Cf. Hanan, Vernacular Story, 89-90.
217. For a detailed discussion of these works, see Goyama, Min Shin jidai no josei, 79-86.
218. On cultural capital, see Pierre Bourdieu, "Ökonomisches Kapital, kulturelles Kapital, soziales Kapital," in Soziale Ungleichheiten (Soziale Welt, Sonderheft 2), ed. Reinhard Kreckel (Göttingen: Otto Schartz Co., 1983), 183-98.
219. McDermott, Social History, 109-10.
220. Frederic E. Wakeman, Jr. The Great Enterprise: The Manchu Reconstruction of Imperial Order in Seventeenth Century China (Berkeley: Univ. of California Press, 1985), 1:100.
221. For example, publishers offered large amounts to reprint the Guobiao (Models of the State, 1632), a collection of 2,500 examination essays by 700 members of the Fushe (Restoration Society), parading the skills of the candidates prior to the examinations for their examiners' appreciation; cf. Chow, Publishing, 236.
222. Cf. Meyer-Fong, "Packaging"
223. Fong, Herself an Author, 129-58.
224. see Ropp, Dissent in Early Modern China
225. Shang Wei, Rulin waishi and Cultural Transformation in Late Imperial China (Cambridge, Mass.: Harvard Univ. Asia Center, 2003).
226. Wu Jingzi, Rulin waishi (Beijing: Renmin wenxue chubanshe, 1985), 13.137.
227. Gabler, "Theorizing the Scholarly Edition," 44.
228. Ding, Obscene Things, xix.
229. Cf. Mulvey, "Visual Pleasure," 6-18
230. on gender and art, see also John Berger, Ways of Seeing (London: British Broadcasting Corporation, and Harmondsworth: Penguin, 1972), 53-54.
231. Ellen Widmer, The Beauty and the Book: Women and Fiction in Nineteenth-Century China (Cambridge, Mass.: Harvard Univ. Asia Center, 2006), 15.
232. The inclusion of the famous dramatist Tang Xianzu's (1550-1616) preface in Wang Wei's Mingshan ji xuan suggests that the anthology must have already existed at least in some form before his death in 1616, unless the preface was merely attributed to Tang. Tang's preface is not exclusive to Wang Wei's work, however; it also appears in Mingshan shenggai ji (published 1633), a revised version of He Tang's Gujin you mingshan ji Hence it is possible that this preface was not specifically written for Wang Wei's volume, although it explicitly refers to the title Mingshan ji. Dorothy Ko has established that Mingshan shenggai ji used some of the same woodblock prints as Mingshan ji xuan; cf. Ko, Teachers, 285-90.