WAGIC is a dedicated space for discussing gender, sexuality and feminism(s) in China past and present

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Issue 3: Women Writing and Women's Writing

November 5, 2017

 

In the third issue of WAGIC, we explore women's writing and women writing in China past and present. We are interested in what counts as 'women's writing', how women write female characters, how women are written, and the place of feminism(s) in Chinese literature.

 

We asked our contributors to share their insights on 'women's writing' and women writing as they play out across a variety of literary platforms including biographies, fiction, and blogging, and to reflect on the broader politics of representation around female subjectivity in Chinese literature.

 

In part one, Wendy Larson looks at change and continuity in Chinese 'women's writing' from the Republican Era to the present. She examines why it is that the question of whether women writing should be thought of as women’s writing remains unresolved.

 

Part two, written by Sarah Dauncey, considers the 'troublesome’ disabled female body in Chinese literature and discourse. By examining the intersection of gender and disability in the literary works of Zhang Haidi, Sarah describes how disabled women writers negotiate private experience and public expression to tell their stories.

 

In part three, Jamie J. Zhao takes a look at women's web-based queer fan writing in contemporary China. Through a feminist lens, Jamie explores how these female homoerotic/homosocial narratives and imageries produced and consumed by fans has come to represent an utopian queer dimension of Chinese women’s writing.

 

For part four, WAGIC interviews internationally acclaimed writer Lijia Zhang on her life and work to date. Lijia talks to us about her journey from being a worker in a rocket factory to becoming a writer, columnist and journalist, and reflects on the experience of being a woman writer in China today.

 

In the fifth part of this issue Yangdon Dhondup examines women's writing in contemporary Tibet. Yangdon describes some of the key issues informing Tibetan women's writing and how the various challenges they negotiate in their work.

 

In the final piece, Nuala Gathercole Lam provides a rundown on two women-centered events at this year's China Changing festival held at the Southbank Centre. Her overview of Hidden Stories: Chinese Women Writers shares some interesting highlights from Guo Xiaolu and Lijia Zhang's discussion.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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