The Male Dan In Chinese Opera Essay

Over a span of several decades, Wu Zetian inalterably changed life in China for woman as well the clergy and the poor. By doing so, she left a perpetual footprint on China’s long history that transcends the mere fact that she was the first woman to rule the “Red Dragon”.

The empires of Rome and China were very great ones, they both had many similarities and differences in the way they ran their empires. One major difference was the way they treated their women. Both Chinese and Roman women were unequal in social status than the men of the empires were, but they were definitely treated different in both empires. Women of China were treated quite harshly and were expected to take orders at all times by their husbands, and were to serve them always. This started to happen especially after Confucius died because he taught people to treat each other the same, “after his death women became less free and lost status,”(Arvind 10). Women of Rome were treated like goddesses; they were to stay at home as housewives

Before analyzing the status of girls and women in ancient China, we need to understand the fundamental principles of morality that dominated in the society in that time period.

Women’s role in Ancient Chinese civilisation was always vital to society due to their role in the family and during the Tang and Song dynasty significant changes occurred, changing Chinese women’s lives forever. While it is no secret women were inferior to men in the history of China, not many are aware of the major differences of the status of women from dynasty to dynasty. The Tang-Song dynasties ruled from 618AD to 1279 AD and many distinct differences between these two dynasties can be observed. Women’s role in these dynasties primarily included domestic duties, with the introduction of new roles to the female gender. Their role was very important to society as the woman of the family ran the household and as that was the most important

China during the Cultural Revolution was a place where you were told what to do, and what to say. Today I will be speaking to you about Mao’s Last Dancer, the film adaption of the autobiography of Li Cunxin. To begin with, I will speak about the Cultural Revolution in China, where the story is set.

As China faced new international pressures and the change to a communist society, gender relations transformed women from servants of men to full independent workers, who finally became soldiers of the communist state. In Jung Chang’s novel, Wild Swans, the three women – grandmother Yu-Fang, mother Bao-Qin and daughter Jung Chang – exemplify the expected gender roles of each generation. I will argue that Confucian society presented few economic opportunities for women to support

Wu Zhao belonged to the Tang Empire, which according to the author which “…was a true empire, encompassing many lands, many peoples, and many ideologies. Multi ethnic and cosmopolitan, Tang China was perfectly suited for the ascent of a historical anomaly like Wu Zhao…” (Rothschild, 2008, p. 11) In a sense, there was a conflict of traditional Confucian values which promoted a patriarchal society and the liberal Steppe culture which gave women more freedom and rights. China at that time was a cocktail of these cultures which led to a significant impact on the lifestyle and values of peoples in that era. Women were bold and tough, and unlike earlier societies, were no longer confined socially and sexually (Rothschild, 2008, p. 12). While did not exist a perfect equality between men and women, women of that era were allowed to live without hiding under the dominance of the male Yang. As the author talks of the Silk Road, it is mentioned that,”…In this free-wheeling milieu, women donned men’s attire and rode horses…” (Rothschild, 2008, p. 15) .This “cosmopolitan” (Rothschild, 2008, p. 16) society was the foundation for the Tang Empire. Another important factor was the prevalence of Buddhism as a religion of the masses. Buddhism, in itself, helped united much of Asia, and was a common platform for men and women, unlike in Confucianism where

Complied during the Warring States Period, the Daodejing is widely known as one of China’s famous philosophy literature. This text reflects the general lament of a civilization that has been worn down from war and seeks to find peace by teaching people how to live by “the Way”. From a war-torn perspective, the Daodejing deems war and government corruption as evil and traces them back to greedy and power-hungry motives. As a successor to Confucius, it still carries some of his ethics. Because of its mystical overtones, it has acquired a large variety of interpretations. Its main teaching is if a person does nothing, then peace will be restored; it is the concept of non-action or 无为。When a person does not try to interfere and allows things to

Women in Ancient China during the Han Dynasty and Tang Dynasty lived in oppressed lives. Society perceived them as inferior to their husbands and parents-in-law. Their role in the family were to be housewives taking care of their family and maintaining the household chores. They were always under the instructions of their husbands and parents-in-law in they were treated like servants. They also had no control in their personal decisions because they were not allowed to decide who they were going to marry and what they wanted to do in their careers. Parents of daughters would also force their daughters to foot-binding because it would attract potential wealthy husbands. This paper argues that although the Han Dynasty and Tang Dynasty were known as the golden periods for China, nevertheless, it was overlooked by historians that women during the time were victims of gender inequality because they lived with no control over their personal lives and were expected to be submissive to their husbands.

In the mid-seventeenth century, the Ming Dynasty had a slow and painful decline. There were some eunuchs who were hated and corrupt, and some of the emperors who were not effective, allowed the government power to slip into the eunuch’s hands. Decisions were being made from bribes and there was no concern for the consequences. There were peasanty who were already hard-pressed, and taxes were being squeezed from them to pay for a multitude of imperial court official and hangers-on. Peasant rebellions began to multiplying as the government's ability to restrain rapacious landlords declined (Adler and Phillips, pg. 375).

The 1993 movie directed by Kaige Chen, Farewell My Concubine, addresses the Chinese political issues during the war against Japan via interpersonal issues of an opera troupe of young male actors. The movie is as long as it is engaging. With two orphan boys who are raised to act in an Opera for their entire lives, dedication obtains a whole new meaning. Dieyi's training to act as a woman and to reflect femininity in his whole life increases the dissension that is observed within the film as well as its connections to the politics of China. The use of ghastly sound effects, close-up cinematographic techniques, and military involvement combine together in this movie to create a devastatingly dramatic experience.

I chose this topic because I view women as the backbone to the development or a nation, therefore the Chinese woman is paramount in one of the world’s great civilizations. The role of women in Chinese culture has changed over the years. When we consider the position that women held in ancient Chinese society we find that they have come a long way to be where they are today.

In Japanese society, at the time when these works were created, the feminine sexuality of a wife and of a courtesan were seen as two dichotomous roles that could not possibly be carried out by a single woman, at least in an ideal world. While it is true many

Dramatic arts became an essential and esteemed form of entertainment during the Song Dynasty. The Chinese theater ran the gamut of all possible kinds of play or composition. A testament to the Song’s work toward variety in entertainment “the drama made quite a feature of short farcical scenes, acrobatic turns and satirical

It was released in the year 1993, covering the period of the Chinese social upheavals between the 1920s through to the 1970s in the setting of the Beijing Opera. The film raises the attitude of homosexuality in the most painful period of the traditional Chinese history, for the Chinese and Western viewers (Lau 1995, 22). Despite that, China holds a strong homosexual stigma within the twentieth century. According to Lau, this film was an opportunity to stimulate the inherent of the Beijing Opera in relation to the homosexual practices that were tolerated during the era (Lau 1995, 22). Zheng further suggested that the film was also a chance to understand the homophobic anxiety of the historical and political brutality in Chinese history (Zhang 1999, 101). The film attempts to illustrate that the Chinese cultural connections and homosexuality cannot coexist. The main protagonist, Cheng Dieyi, sense of identity is heavily reinforced by the power structure within the environment through harsh symbolic rapes. Lau suggested that the symbolic rapes, such as the loss of finger and getting a pipe forced into the mouth are indications of homosexuality (Lau 1995, 23). According to Zheng, the scene when Dieyi gets raped by the eunuch has exhibited Dieyi’s disruption towards the societal rejection of homosexuality (Zhang 1999, 104). Zheng also stated that Dieyi’s violent