By Wenbo Jia
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5. 21. A list of some titles that have appeared in recent years suggests the range of possibilities: David Wang, Fin-De-Siècle Splendor; Zhang, Chinese Modernism; Chow, Woman and Chinese Modernity; Chang, Modernism and the Nativist Resistance; Shu-mei Shih, “Gender, Race, and Semicolonialism: Liu Na’ou’s Urban Shanghai Landscape,” Journal of Asian Studies 55:4 (November 1996), pp. 934–956; Liu, Translingual Practice; Leo Ou-fan Lee, Shanghai Modern: The Flowering of a New Urban Culture in China, 1930–1945 (Cambridge, MA: Harvard University Press, 1999), Xiaobing Tang, Chinese Modern: The Heroic and the Quotidian (Durham: Duke University Press, 2000).
4. See Rey Chow, “The politics and pedagogy of Asian languages and literatures,” in Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies (Bloomington: Indiana University Press, 1993), pp. 120–143, for a detailed discussion of this dilemma. 5. The primary exception in modern Chinese literature in the May Fourth era is Milena Dolezalova-Velingerova’s essay titled “The origins of modern Chinese literature,” in Modern Chinese Literature in the May Fourth Era, ed. Merle Goldman (Cambridge: Harvard University Press, 1977), pp.
38 Megan M. 24 Their writings on women helped to define a feminine personhood. Male writer and critic Ye Shaojun understood renge to mean an individual spirit within the group. 25 He embraced the then popular discourse that since society traditionally defined women in relation to others, as wives, mothers, and daughters, or used like machines, played with, bought or sold, they lacked independence and, therefore, could not develop their moral character. According to Ye, women lacked a philosophy of life (rensheng guan), a crucial part of independent will, because Confucian ideology confined them to the home and made them dependent on others.