A Study Of The Women 's Ladies In The Legend Of The Tang Dynasty From The Perspective Of Gender

Paladin is a very lofty spiritual element of Chinese classical culture, the Tang legends, which center on chivalrous spirit, have show us a group of attractive heroes, and the heroine was the most remarkable character among them. The heroines, who did not follow other common women who were constrained by their families, were resolved to experience the society and have created lots of stunning achievements in the contemporary society which was dominated by men. Therefore, many scholars believe that the emergence of heroines means the proliferation of female consciousness and the assault to that man-dominated society. However, the heroines written by males in the Tang legends still can not get rid of the men’s judgment and evaluation about women when we comment that kind of novels with the perspective of feminism. What the authors emphasized was the heroines’spirit rather than the females, so the heroines were not resembled to the group that enjoyed sex liberation. Though the heroines were able to be good at martial skills, it did not simply means that they were equivalent with resistance and violence; it is the qualities of their indomitable spirit and self-reliance that should be learned by the contemporary women. So there comes very high value on analyzing those heroines from the perspective of gender. This article, which is based on the western feminism, will study the heroines and make further interpretation about the female’s real life of Tang Dynasty by means of putting the heroines in the contemporary social life, thus finally concludes their impact to modern sex liberation of women. This text is consisted of six chapters:This chapter mainly introduces the meaning of the Tang heroines-legends with the perspective of social gender; second, reviews the current research on the Tang heroines-legends and figures; finally, the article will presents the research methods and the writing ideas. Then introduce the origin of the heroines and the chivalrous trend of The Tang dynasty. First, introduces the development of the chivalrous spirit before The Tang dynasty and summarizes the definition and characteristics of Paladins; Second, classifies the information of heroines who lived before The Tang dynasty and thus interprets the reason why there were a lot of men heroes but few heroines; Third, presents the chivalrous culture and chivalry literature of The Tang dynasty, which mainly analyze the Tang chivalry poetries and legends; Finally, groups the heroines of the official Tang history and other novels with three categories:Vengeance, against enemies and save families. And then are the number and the writing features of heroines in Tang legends. It will analyze from two aspects, first of all, re-confirms the number of heroines in Tang legends and introduces their evolution aftermath; Second, lists the tables about the heroines’ personal information, according to which summarizes the writing characters of these novels, such as the writing times, places, the figure-shaping etc. The most important part of this article is the heroines’ chivalrous experience and the concept of females in the Tang society. This chapter, which is will mainly analyze the chivalrous experience of the heroines with the perspective of gender. First, it will divides the heroines into four categories according to their chivalrous characteristics:revenging women (Xie Xiao’e, Miao Ji, The merchant’s wife and Cui Shensi’s wife), fairies-women with swords (Nie Yinniang and her master), burglarious women (the girl in a carriage, the girl with three ponytail and Hong Xian) and faithful woman (Hong Fu, Shang Qing), and then briefly introduces the women’s life in the Tang dynasty, finally summarizes the sexual repression problems of each category of heroines. The last section of this chapter analyzes the destinies of heroines with the perspective of gender and concludes that heroines were still surrounded with hardships and they have not embraced the eventual liberation.The last is the social sexual analysis about the depiction of Tang heroines. This chapter mainly presents the heroines’ living spaces; role features and distribution of power, and concludes that the keys to achieve gender liberation are grasp the discourse and concept-changing about two sexes.