![]() It will pay particular attention to the narrative structures, which help to bring out the concepts of "sameness" and "difference" in the representation of female subjects. This essay aims to explore the images of Chinese women, but especially how the first−person narrator, or "I," interacts with the female characters in a genre that traverses fact and fiction. This is probably because they have generally been categorized as auto⁄biographical literature and social documentaries, appreciated more for the realistic portraits which they offer of Chinese women as well as their socio−cultural and historical backgrounds, than for the literary and aesthetic values which are by no means lacking in these genres. Also born in the 1950s and an emigrant to the United Kingdom, she is the author of The Good Women of China (2002) and Sky Burial (2004), both of which were originally written in Chinese, before being translated into English and other languages and sold all over the world.ĭespite the popularity and high appraisal of Xinran's works, to date no critical study of either of them has been documented. Nobel Prize winner Gao Xingjian aside, one of the most prominent figures is Jung Chang, author of the best−selling and award−winning memoir Wild Swans: Three Daughters of China (1990), while Xinran (her full name Xinran Xue) is a much more recent example. In the past two decades, a number of Chinese diaspora writers have attained worldwide fame and sparked the interests of historians and literary critics. ![]()
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