Author: ZHANG Yu

General Yue Fei has long been considered a symbol of loyalty and resistance in Chinese history. His legend has been circulating in various forms since the twelfth century. In the context of the emerging women-authored tanci narratives and the political disorder of late 19th century China, this article examines how the gentry woman author Zhou Yingfang 周颖芳 (1829–95) enriches the narratives of Yue Fei by inserting a number of domestic themes into her tanci adaptation. She redefines the virtues of both genders and expects transformed family dynamics. In considering scholarly interpretations of the tanci in the modern period, this article also argues that the May Fourth scholars tended to neglect and/or suppress Zhou Yingfang’s gendered consciousness in her alternative imagination of history.

In: Frontiers of Literary Studies in China

National heroes are important in the development of nationalist thinking. One important figure in this context is General Yue Fei (1103–42), who unsuccessfully fought the invading Jurchen in the twelfth century. Shortly after his execution, a temple was built in his honour in Hangzhou. Local chronicles show that this temple was constantly renovated in later dynasties. Due to his continuous worship as a loyal warrior—even during the Qing dynasty—his temple became a powerful site of identity. His veneration as a national hero in the course of the twentieth century has, however, posed a problem to a post-1911 China that felt compelled to sustain a multi-ethnic nation-state, whilst at the same time facing the difficulty of not being able to do without General Yue Fei. This article shall make it apparent that his resurrection as a national hero in the twentieth century was possible because of certain narrative strategies that had already been propagated by the Manchurian rulers of the eighteenth century

In: Frontiers of History in China
Author: Elad Alyagon

According to Yue Fei’s biography, when the legendary general was slandered and interrogated for treason, he tore the shirt off his body, exposing four characters tattooed on his back: “Exhaust one’s loyalty in service of the state.” This study looks at two components of the Yue Fei story—patriotic tattoos, and tattooed generals—and examines their meaning in the broader stretch of Song dynasty history. Yue Fei was not the Song dynasty’s only tattooed general who came to a tragic end. The Northern Song’s Di Qing was a tattooed soldier whose military merit allowed him to rise to the highest levels of power in the empire. Di Qing’s story makes it clear that tattooed generals were objects of suspicion and ridicule at court due to their military tattoos, a trait that linked them to the criminals and lower class men that manned the Song armies. Though military tattoos sometimes had a loyalist ring to them, they were carried out on a mass scale, and were a characteristic of coercion rather than fervent loyalism. This study shows that underneath the nationalist historical narrative of the Song dynasty, of which Yue Fei is a famous example, there lies a different story of social conflict within the Song state. Rather than a story of Chinese fighting non-Chinese and of traitorous and cowardly officials struggling with loyal patriots, this study offers a narrative of a social conflict between high-born clear-skinned officials and low-born tattooed military men.

In: Frontiers of History in China
In Narratives of Kingship in Eurasian Empires, 1300-1800 Richard van Leeuwen analyses representations and constructions of the idea of kingship in fictional texts of various genres, especially belonging to the intermediate layer between popular and official literature. The analysis shows how ideologies of power are embedded in the literary and cultural imagination of societies, their cultural values and conceptualizations of authority. By referring to examples from various empires (Chinese, Indian, Persian, Arabic, Turkish, European) the parallels between literary traditions are laid bare, revealing remarkable common concerns. The process of interaction and transmission are highlighted to illustrate how literature served as a repository for ideological and cultural values transforming power into authority in various imperial environments.
Author: Wong T'ONG-WEN

-tchouan; celui-ci comprend en effet en supplement d'autres travaux, ce qui le differencie du Kieou-king de Leao. Yue K'o etait un petit-fils de Yue Fei ffi (1104-1142) qui 434 etait originaire de Siang-tcheou f4i fH .1) 11 avait donc choisi Siang- t'ai, le nom po6tique de Siang-tcheou, 2) pour designer son

In: T'oung Pao
Author: Xiaorong Li

in the haofang style, but it was in the hands of Southern Song poets, such as Yue Fei 岳飛 (1103–42) and Xin Qiji 辛棄 疾 (1140–1207), that the haofang lyric became a widely recognized liter- ary phenomenon. The emergence of the haofang mode was very much a product of historical circumstances of the

Author: Peter Zarrow

patriotic Song general Yue Fei, the Ming loyalist Zheng Chenggong, and for that matter emperors, offi cials, and other pre- Qin kings all provided sources for broad historical metaphors. But why do we even bother with stories at all? Why do intellectuals, artists, and ordinary people not make their point

In: Journal of the Economic and Social History of the Orient
Author: Ming-kin Chu

father’s anthology: “Han Shizhong (1089-1151), Zhang Jun (1086-1154), and Yue Fei (1103-1142) had long commanded troops in their capacity as pacification commissioners at the frontier. One day the emperor appointed them to be officials in the Bureau of Military Affairs and stripped them of their power

In: T'oung Pao
Author: Xiaorong Li

daughter, Zhou Yingfang made her innovative contribution by re-writing the story of the popular, patriotic hero Yue Fei 岳飛 (1103-42). Her innovations, as Zhang illustrates, lie in how to enrich the conventionally masculine hero with fresh domestic scenes and feminine details. Chapter 5 is a continuation of

Author: Guofu Cheng

, to different degrees, the atmosphere of the particular era in which Ming and Qing popular novels were created and published. In the guide to Yue wumu jinzhong baoguo zhuan , published by Youyizhai in the late Ming Dynasty, note 6 states that the book was based on the story of how Yue Fei defied the

In: Journal of Chinese Humanities