About the Author
Manor, female, born in 1972 in Shantou City, Guangdong Province. Ph.D. in Philosophy (Literature) from the University of Macau, Associate Researcher of Literature and Art, currently works in the library of Shantou University. He has published 6 personal monographs, 2 individually edited books, published more than 50 academic papers, and edited and published about 16 million words of Chinese literature papers by scholars at home and abroad.
His representative works include the following works: "The Existence and Salvation of the Individual: Gao Xingjian's Novel Theory" (Manor, February 2017, Dashan Culture Publishing House, Hong Kong, 300,000 words), "Gao Xingjian's Literary and Artistic Chronology (1940-2017)" (Manor, September 2019, Taiwan Mulan Publishing House, 4 volumes of 700,000 words), "Xu Guangping's Second Half of Life--and Lu Xun's Family and Friends, etc. (1936-1968)" (Manor, September 2020, Taiwan Mulan Publishing House, 2 volumes of 350,000 words), Special Studies on Feminism (Manor, August 2012, Sun Yat-sen University Press, 230,000 words), Research on Women Writers Yan Geling (Manor Editor, April 2006, Shantou University Press, 200,000 words), Chinese Literature of Culture: A Collection of Controversies on Chinese Literary Methodology (Manor Editor, April 2006, Shantou University Press, 130,000 words).
Oriental Lolita - An Analysis of the Female Face of Yan Geling's Novel
At the end of the 20th century, the New York Times published a "glorious edition" of one of the best English novels of a century, with Joyce's Ulysses at the top and Nabokov's Lolita in fourth. [1]
Nabokov's Lolita has been adapted into two major films, one in black and white made in Hollywood in the 1960s and one in the United States in 1998. Director Adrian Lane has directed many erotic films such as "Little Fox" and "Infidelity", and Jeremy Irons, who plays the male protagonist Humbert, has representative works such as "The Woman of the French Lieutenant", "Butterfly King" and "Stealing Incense". The film comes with a beautiful Chinese name: a tree of pear blossoms pressed begonias. The creator of the 1998 edition is a master of romantic flirting, creating a girlish atmosphere throughout: pink panties hanging from the bathroom, damp peach bodies in the garden, bows on messy hair, mouths dipped in milk juice... In the face of the girl's vigorous youth and ignorant initiative, two uncles and old men were tortured in anxiety and fanaticism, and the last one died of death, and one faced a death sentence. Lolita also became another name for "Deadly Erotic Girl".
Yan Geling's young girl is the "Oriental Lolita", she is weak, instinctive, but also overflowing and seductive. Her sensuality is not externalized, but hidden in her bones; her beauty is not aggressive, but concessional and compromised; she is an unassuming wildflower, not known to bloom in the corner of the open...
Smaller: A touch of tenderness
"The Land of the Female" is a long masterpiece of Yan Geling's mainland period, the first edition was published by the People's Liberation Army Literature and Art Publishing House in June 1989. The novel is a group portrait of the "Iron Maiden Wrangler" in the 1970s, who are accompanied by hundreds of military horses to resist all kinds of dangers on the grassland: wolves, jackals, and indigenous nomadic men, whose relationship with heaven, earth, animals, and beasts is very peculiar, and the noble spirit of sacrifice contained in them still shakes people's hearts. The novel doesn't give the girl much space, but she questions the overall unity of the revolution and dissolves the arrogance of transforming the world from the perspective of a wanderer's marginalized soft perspective.
Yan Geling wrote:
After reading "Female Grass", Chen Chong said to me: "Very sexy! I said, "Huh?! She said, "That passion! "I have always cared about Chen Chong's opinion, she is a person who loves to read, read a lot of good books, especially contemporary Western literature, and seems to be a movie star in her spare time." Really, you're writing sexy! I was still stunned and asked her what sexy to say, and she said she couldn't tell: "Some books are written sexually, but they are not sexy; your book is very sexy." 」 She said. [2]
A crush between Xiao Dian and the commander of the cavalry battalion said nothing or did anything, but the demand and torture of each other's hearts made this love completely unnecessary for physical participation. [3] This kind of spiritual warfare is becoming more and more memorable, and of course more in line with the censorship of serious books and periodicals.
Yan Geling, "The Land of the Female"
When the writer is taken in by the wrangler class a little bit earlier in the main text, it seems that for no reason he suddenly inserts a story of "girl murder" in the late 60s: one day a group of young men and women are boiling paste in the bunk, ready to brush large slogans and large character newspapers. Then one of them suddenly pointed to a pedestrian on the street and said: He is our opponent. Soon he was caught and played very lively, like a carnival. A very charming-looking girl quietly poured a freshly boiling paste on the man... The beautiful girl who killed without blinking an eye, she looked sad and moving in the public trial photo, and served her sentence with a soul-catching face. [4]
The implicit narrative ethic here is that the change of girlishness does not dwell. With Lolita's danger, turmoil, and seemingly innocent evil, she makes the flower of evil of humanity more vivid and eerie, more absurd, and tears apart the cold reality of the iron plate, thus stinging people's numb nerves. This interlude is the same as the function of the small characters, as the "terrier" of the novel, which fits the theme of reflection on human nature in contemporary Chinese literature in the 1980s.
"Female Meadow" was republished in Taiwan in 1993, and Yan Geling wrote in the United States:
At that time, when I was sixteen years old, I woke up in the depths of the herbs and saw for the first time that on my white pillow towel, there was a row of blood-red words, "Carry the revolution to the end." I was very young and ignorant, and I felt that I, like all the girls in the Wrangler class, had promised a great legacy, a promise that had to be fulfilled with sacrifice and devotion. At that time, I could never have imagined that I would sit at the window of a middle-class American home, quietly and indifferently write this epilogue—the consequences of twenty days and nights in that tent. What happened to the horses, the girls, and the snow-white pillows with the words "Carry the Revolution through to the End"? [5]
Yeah, what happened? The communist successor of Soviet-style education became a member of the "Great Escape of Victory" (a joking term for the Chinese mainland tide of the 1980s and 1990s) and seamlessly took over the lyrical life of the petty bourgeoisie. Revolutionary discourse was abandoned and hidden in the novels of yesteryear.
Small fishing: Give alms with sex
Yan Geling wrote "Little Girl Fishing" in the third year after going abroad (1992), and her focus shifted to the community of new immigrants in the United States. Xiaoyu, a 22-year-old nurse, had a fake marriage with a foreign old man for her boyfriend Jiang Wei's dream of going abroad. Jiang Wei looks up to Xiaoyu because she is easy to get started, he just treats her as a lowly wildflower, uses sexual function and uses her as a stepping stone to change his fate.
Whoever invited her to dance she danced, pushed her close to her, pushed her far away from her. Laugh the same. Jiang Wei's hand was not honest on her waist, she smiled and recognized...
Behind the courtyard gate, he hugged her horizontally and vertically for a while. Ask her, "Do you like me like this?" She was silent, her body was kneaded into whatever shape it was. The next weekend he slept with her. After being busy, Jiang Wei took a small nap. Half awake he asked, "Who are you going back to bed with?" Xiaoyu said slowly, "A sick man is dying." He liked me for over a year. ”
"He likes you and you let it?" Jiang Wei was like a tight fit from the end of his hair to his toes. Xiaoyu also read from his eyes: You owe men so much? So what's not worth it? She rubbed his full body of frog flesh with her heart in her hands, "He looked like he was thirsty, and he looked really painful and pitiful. She said. She read the remaining half of the sentence with her eyes: Didn't you just do the same? Like being poisoned; like I have food but I'm hungry for you. [6]
If Jiang Wei is a little rogue, then the old man is an old rogue. He constantly demanded rent increases to blackmail her money, and he still coveted her youth and ate her tofu, but she carefully understood the plight of his failed life and pitied the decadence of life behind his self-abandonment. In order to save money, she walked to work for months; she endured the unwarranted suspicion of her old and female companions; she cleaned up her messy room and even planted flowers outside the door. "She wanted anything to pass through her hands to make it better; there was nothing in the world that deserved to be wasted, including this old man who had ruined most of his life." [7] In the face of Jiang Wei's jealousy of her kindness, she thought:
His energy would pass, just let him enjoy her full warmth. Nothing would delay him from enjoying her, pain or anger. He could enjoy her while throwing a tantrum. "What kind of woman are you?" He asked spasmodically at her. [8]
She is a woman like water, and what container she puts in is what shape. She was not resentful of the tramplers, but compassionate, with helplessness and obedience. The small fish here is clearly "unprincipled tolerance and non-discrimination." [9] Her name and image are derived from the Danish fairy tale Hans Christian Andersen, the little mermaid who had to dance on the tip of a knife for love." Every woman, deep inside her, sleeps a gentle, kind, self-sacrificing little mermaid. [10] Yan Geling expounded her "female view" in this way: the beauty of women lies in her gentleness, and gentleness comes from kindness, and a kind soul makes the gentleness embodied by this woman real, not twisted. This gentleness has nothing to do with the feminine skills of a thousand and one charms, this gentleness seeps from every pore of her sweat, and it is naturally simple to the extreme. Gentleness is externalized goodness, and beauty is externalized tenderness. Such beauty is what Kant called "aimless and non-utilitarian".[11]
Poster for the movie "Little Girl Fishing"
Female writers hope to achieve a religious salvation through ignorance and chaos in the young girl. "Little Girl Fish" was a hit in Taiwan, the film of the same name was released in 1995, directed by Zhang Aijia, starring Rene Liu, xu Ligong and Ang Lee as producers, and won the best film at the 40th Asia-Pacific Film Festival. The sensational effect of this short story may have encouraged Yan Geling to further develop the theme of "giving charity with sex", and "Fuso" came into being in such a context.
Fuso: Exotic slave girl
The Fuso that the young Chris fell in love with, although she was a mature woman, her small and exquisite, her soft and humble nature, is an oriental Lolita temperament.
In the nineteenth century, Fuso crossed the ocean to the United States on a ship specializing in carrying "coolies". The man sells the coolie, the woman sells the body, and Fuso is a prostitute. Chris is obsessed with Fuso, with a kind of Western colonial male gaze, even if he is just a teenager, she must be weak in the face of strong cultural blessings. He falls in love with her as he enters her body, and he rises up a heroic dream of saving her from the sea of suffering.
Chris felt that he was standing on top of the world, not a myth, but a loyal knight in reality. The two leg irons that had always stood slightly apart stood as hard as horse pedals, condescending to look at the slave girl whom he loved dearly: You are free. [12]
Fuso did not fulfill Chris's heroic dream, she escaped from safety and returned to the brothel in Chinatown. She has no feminine revolutionary nature, she only has female servility. For thousands of years she was either subordinate to a group or dependent on men, and her ego found a home only in her ethnicity, and she was born of suffering, content with suffering, and died of suffering and transcended through suffering. Western men are alien to her, she is cut off from Western civilization, selling her body is her way of survival, and her heart is deeply rooted in the ancient land of the East. Even if the man was replaced by a rooster when she visited the church, even if she later had the opportunity to meet her husband Dayong, who had never slept together, he was only a symbol to her, but it did not prevent her from "being his man and dying as his ghost" from being.
Yan Geling", "Fuso"
Yan Geling wrote "Fuso" in 1995, and she left the Chinese mainland in the late 1980s (1989) to become a new immigrant to the United States. The shaper of Fuso has experienced the baptism of the revolutionary era, "women can hold up half the sky" . Her old paper pile in the library was attracted by a classical woman wearing red embroidered shoes, and in order to reflect the Background of Cantonese people, the book also embedded individual Cantonese words. Shocked by an exotic culture, Yan Geling struggled to find a deeper sense of history when rebelling against the concept of the "Iron Maiden" in the mainland context, and she may have read Lao Tzu's Tao Te Ching - "The weak win the strong, the soft wins the strong". Her view of femininity is confirmed in classical Chinese philosophy.
The novel "Fuso" covers almost all of Yan Geling's writing themes: women and servility, ethnicity and culture, love and salvation, etc. The time span of this novel theme is relatively long (almost all of Yan Geling's novels are modern and contemporary themes), how to deal with ethnic and gender issues more than a century ago, and the modernity of the novel's perspective, etc., young writers (yan Geling is 37 years old at this time) do not seem to have sufficient and coherent rational thinking, and their writing has thus presented fragmented fragments. After the advent of "Fuso", it also attracted attention, and was well received by many critics and won the novel award of Taiwan's "Lianhe Pao Literature Award" that year. After that, many film and television companies were eager to try, and the publicity adapted into a movie did wave after wave, and the heroine changed from Zhang Ziyi to Ni Ni, but it was always thunderous and rainy, and so far there has been no finished product.
Fuso is the name of the heroine, and it is also a plant that can be seen everywhere in southern China, with gorgeous flowers, but it is not elegant, and it is ignored because of its ordinary and lowly. In modern concepts, "Fuso" also refers to "Japan". Later, Yan Geling did write about a glorious Japanese woman, the little aunt Tatsuru.
Tatsuru: Ethnic peace
First published in People's Literature in 2008, "Little Aunt Duohe" can be said to be Yan Geling's best masterpiece so far. Her manipulation of exotic and ethnic themes has now reached a state of skillful harmony. Tatsuru appeared as a 16-year-old Japanese girl, who, as a prisoner of war, maid, concubine, and little third, her eyes were "ignorant and innocent", and Yan Geling once again depicted the softness and servility of oriental women.
The first night, was his hand the first to recognize her body? He turned off the lights without looking at her. There was no light in the room at all, and she was a thin black shadow. The head was large, and her hair was surprisingly thick, and although it was also black, it was not the black hair he knew well, but the black hair of an alien and barbarian. The barbarian men killed and set fires, and the lonely woman who was left was such a small black shadow. He approached before her eyes, and then he approached again, getting taller and taller in front of her eyes. Darkness makes tall things taller. He must have been a huge black shadow of a murderer and arsonist in front of her eyes. She began to cry and slowly lay down on the kang. He was not rude to her, his hands and feet were not heavy, but he was not interested in moving. The action is efficient, but it doesn't matter. She cried more and more painfully, and the tiny black shadow trembled and curled up, like a bean worm crushed under her shoe. He rose up in a barbaric way, killing and setting fire to the trembling black shadows. [13]
This scene depicts Tatsuru's first night as if he had been sexually assaulted. Zhang Jian's violent posture seems to be an imitation of the Japanese invasion of China, and the political power and gender power are entangled in a reversal. In the northeastern family of Zhang Jian and Zhu Xiaohuan, Duo He first served as a target for venting his anger, and then became a reproductive tool like an animal, and has been doing small ambushes. She carried the burden of a nation with water, and could only accept the slaughter and endure to survive. Here, the relations of the state are manifested in the interpersonal relationship between the families, especially the genders, and the enslavement and enslavement are staged in a mundane way in a daily manner. After Tatsuru's long-term dedication and dedication, the situation slowly changed subtly, and the pair of exotic men and women actually grew a long affection, even love.
The more the two looked at each other, the more greedy they became. They turned the five-minute walk into twenty minutes. On the way, he met an old lady who sold white magnolia flowers, and Zhang Jian took out five cents and bought a bouquet for DuoHe to hang on the buttons of his shirt. He was not surprised by his abnormal behavior, as if he had been born to be a male brother who would be with women. He would not be surprised until his mind had time to analyze his actions, and now his heart was busy, busy receiving every glimpse of Tatsuru's charming gaze, busy returning her style with his warm gaze or quietly squeezing her hand or waist or shoulder. There are so many things that can be done between men and women, but what about that one thing? In the crowded street, he quietly squeezed the palm of her hand, making the tip of his heart tingle. The palm of the hand was so soft and tender, as indescribably wonderful as everything that was stolen...
He felt that she was also completely different from the past. In the past, she only regarded him as a male body, a male body that could be a spouse with a female body, but now it was different, she regarded him as the only one in the world, the only one that belonged to her, the only one that was missed in the vast sea of people. Now everything was different, and the touch became a unique touch, and each touch made her spasm. Who says women don't attack? Her flesh went out far and wide, almost pulling him over. Her fine soil seemed to have buried him in the air.
He closed his eyes and rode up and down the swing, full of the style of The Crane glancing left and right. She is so charming and so ignorant, which is the most fresh and exciting point that Zhang Jian feels. [14]
Yan Geling first wrote about the couple who had several children as young people who loved the teenagers and the girls with spring in their hearts, and then said that they were like gods and immortals who were harmonious with Qinser. In the creation of "Fuso", Yan Geling said: "Two opposing races, two coexisting cultures, they attract, repel, torture and run-in between them, so that the two ethnic groups are combined into a symmetry, metaphysically understood, Chris and Fuso sex is a symbol of the process of reconciliation between the two peoples." [15] Sex is a strategy (routine) for Yan Geling to deal with ethnic communication, and although Fuso's collusion with Chris failed—the Sino-American relationship was estranged and fractured— fortunately, Duohe and Zhang Jian's Sino-Japanese friendship this time blossomed.
Yan Geling,"Little Aunt Duohe"
The ethnic conflict and power struggle in "Little Aunt Tatsuru" undoubtedly tests the multidimensionality and mottledness of gender writing. Yan Geling was born in Shanghai in 1958, and she was 50 years old when "Little Aunt Duohe" was published, which was the maturity of her life experience and writing career, and the novel's dense narrative style complemented the heavy theme. Compared with "Fuso", at this time, she has a higher ability to control language, and her handling of the details of life is more handy and frequent. This is her most positively written work, and the above quotations can also read the pleasure of female writers immersing themselves in and playing with the male gaze, as well as the satisfaction of women's complete self-delivery. If "female" is an animalistic, feminine essence, then "servility" contains complex connotations such as Oriental history, power and ethics.
True and fictional
A survey that the author once did shows that the female writer who has been studied and paid the most attention to by scholars is Yan Geling, a Chinese literary writer and his works. [16] Some researchers have pursued Yan Geling's love setbacks in her teenage years, believing that the mention of Spike's love secret in the novel "The Tale of Spikes" is actually Yan Geling's own real encounter, and the early love dilemma of adolescence has led to her suicide.
Spike, 15, falls in love with Shao Dongjun, a 22-year-old platoon leader, but violates military rules. The two secretly interacted for three years, using codes to convey affection, during which Time Spike wrote more than 160 love letters to Shao, "Dear Brother Dongjun," "Your eyes are moving in my blood" or "Let me kiss you deeply", etc., the little girl's gentle thoughts could not satisfy the platoon leader, "He said that she was just a bunch of empty words, what 'forever', what 'until death', little age, how come there are so many empty words? What the platoon leader wanted was," could he give me everything?" Xiao Suizi was willing to give everything, "Tonight I want to take her to the end of the world, she has no words." But before this, the interaction between the two had been seen by Gao Aiyu. Gao is a "lively, plump, and riotous company-level officer, whose appearance is also the protagonist under the stage." Burst into laughter at every turn... Like a beautiful female bandit", as early as a week ago, Gao Aiyu had conquered Shao Platoon Leader. Shao empathy is that he saw passion in Gao, "Passion is merciless, and With Spike, he has never mobilized such passion... The love fire of Shao Dongjun and Gao Aiyu burned with passion." For the sake of the steadfastness of love, Shao betrayed Xiao Suizi. After he handed over Spike's love letter, Spike's diary was also censored, and her love words made everyone disdainful and became a powerful weapon for everyone to isolate her and satirize her. After that, Spike "was hidden by female soldiers like a plague for more than half a year." Desperate, she "took sleeping pills from the health room for three days and swallowed them all at once, thinking she would never wake up again." [17]
The abandonment and self-harm of the girlhood, which was later projected into the creation of novels, became Lolita's charm, tenderness and even human consummation. This is in a sense a compensation for literature, or a healing of writing. In Yan Geling's novel, the most Lolita narrative element is actually the novella "Ren Huan", which has been renamed "Is the Psychiatrist Here?" in recent years. " is repeated.
"RenHuan" was first published in Taiwan in 1998, between "Fuso" and "Little Aunt Duohe". The father in this article is a writer (Yan Geling's father Xiao Ma is also a writer), and the heroine "I" is in love with her father's friend Uncle He. She always remembered that when she was 11 years old, Uncle He caressed her inch by inch in the sleeping car; by the age of 18, she had gone all the way to the melon shed to find the laid-off He, hoping to dedicate herself to him to comfort the depressed him, but was coldly rejected. After that, they also had many erotic temptations.
The novel takes a modern approach to storytelling. The inspiration for the writing was a "Freud resurgence" in the American psychological community at that time. [18] Psychologists believe that the vast majority of people have experienced trauma in childhood, which is due to the self-defense instinct of a person's psychological function, that is, to eliminate all memories that are not conducive to mental health. Therefore, the psychological wounds suffered by people in childhood seem to be forgotten, or healed in the form of forgetting. However, according to Freud's theory, no wound is forgotten, but suppressed into unconscious consciousness. Therefore, the psychological treatment is a psychologist who helps the patient open the subconscious mind and explore the lesions hidden in the deepest and darkest minds. The middle-aged woman ("I") in the novel tells the hidden pain of her heart intermittently and awkwardly in broken English when she sees a psychologist in the United States.
The sexual relationship in "Ren Huan" is not only the sexual attraction between the uncle and Lolita, but also implies the background of the era of "literature and art serving politics", and the obedience and subordination of a family to the powerful. The works written by his father could not be signed with his own name, he was only a ghostwriter for He. In exchange, in previous political movements, he sheltered the heroine's family to pass the customs safely. The linguistic and cultural barriers of chinese stories in the past have triggered a strange defamiliarization effect when narrated in western contexts, and also brought readers an alternative reading pleasure.
What is more interesting is that the heroine and her foreign professor are also entangled, and the sexual relationship between the two is also mixed with power and transaction. The heroine's exposure and relief of psychological pain is also the author's use of words as a tool to expose and vent the scenes of eroticism and desire. At this point, the novel text has become a fragrant female body, the reader is a powerful gazer, and the compensatory and empathic role of literature and art is self-evident.
epilogue
Lolita is active in her embrace of mature men. The two men in "Lolita", Humbert is a university professor and Quilty is a drama screenwriter, are both old jianghu with rich life experience, but they all fall under the pomegranate skirt of a 14-year-old girl. Before leaving home for the camp, Lolita rushed to Humbert's room and crashed into his arms to kiss goodbye; he went to the camp to pick her up, she changed into a crop in the car, sat in his arms and kissed him passionately; finally could kiss her in the hotel, but he lingered in the hotel lobby and corridor, and did not carefully lie down next to her sleeping until midnight; the next morning she woke up and rode on his own initiative to let him in. When she meets the more experienced Quilty, she alienates Humbert, first going out to steal, then taking the opportunity to elope, and after getting bored, she prefers to marry a poor boy with a hairy head than return to her stepfather. She is content to be the ordinary housewife of all sentient beings, but refuses to shine in the animality of derailment and incest—men are only a way for her to understand the world, and as an adult she is willing to bear her own destiny. In contrast, Yan Geling's Chinese women have never had subjectivity, and she is complacent about the passive and stoic way of survival, and even summons the soul of the long-standing "servility" of the ancient oriental country.
In the history of Western art, there is a well-known statue called the Venus of Willendorf, which is a product of the Paleolithic age and has been excavated in Australia. Some feminist researchers have pointed out that "goddess Veren dove" is not beautiful at all, she has no eyes, no nose, no mouth, no ears, and her face is surrounded by straw ropes in a circle. The face seems to be imprisoned, and there is no personality at all. Her breasts were huge and heavy on her chest; she was very fat, her hips were large, and her abdomen looked like she was pregnant; she had no hands or feet, but her thighs were unusually thick and firm. As a goddess, she definitely does not represent beauty, but represents the mother - always pregnant, always nursing, she lives in her own body, imprisoned by her own body. [19]
Statue of the "Goddess Verendorff"
The most prominent features of this statue are the breasts and buttocks, symbolizing the developed reproductive function of women. She had no eyes, so she couldn't see the outside world; she didn't have ears, so she couldn't hear the outside world. She is the most essential, original but least sexy embodiment of the female gender. What is touching is that all the great mothers in the world are like this goddess, like the earth, like nature, full and warm, the source of the children of the world, and their destination, but the mother herself is blind, can not see herself and can not see the outside world, only for the sake of procreation and stand there stupidly.
The song of the great mother is the main theme of the male power culture, and the chaotic and obscure female figures in Yan Geling's pen are similar to the "Goddess of Weiren Dove". In terms of female and maternal nature, she added another handful of "Oriental Lolita" femininity and sexiness, thus packaging the so-called "feminine essence" more fresh and lovely (man). Yan Geling, in the middle of the overcorrection of revolutionary women and the "Iron Maiden", turned back to the misguided rendering of female servility (blindness, selflessness) and the misguided praise.
exegesis
[1] Liu Zaifu's "Nabokov's Great Fables", Liu Zaifu's "Wandering Biography : Selected Overseas Essays of Liu Zaifu", pp. 300-303, jointly published by Ming Pao Monthly Publishing House and Singapore Youth Book Company, first edition in February 2009, first edition, May 2012, 1st edition, second brush.
[2] Yan Geling, "Starting from the Female (Generations in Sequence)", Yan Geling, Yan Geling, "Yan Geling Collection 1 Female Meadow", page 1, Contemporary World Press, January 2003, 1st Edition, 1st Printing.
[3] Yan Geling, "Sex and Literature: A Speech for the Chicago Chinese Writing Association," by Yan Geling, Bohemian Building, p. 87, Shaanxi Normal University Press, 2009, 1st edition, 1st printing.
[4] Yan Geling, Collection of Yan Geling: The Female Meadow, p. 50.
[5] Yan Geling, "The Land of the Female: <雌性的草地>An Afterword to the Reprint of a Novel," by Yan Geling, Bohemian House, p. 101.
[6] Yan Geling, "Yan Geling Collection 5 Girl Fishing", p. 3.
[7] Yan Geling, "Yan Geling Collection 5 Little Girl Fishing", p. 15.
[8] Yan Geling, "Sex and Literature: A Speech for the Chicago Chinese Writing Association," by Yan Geling, Bohemian House, p. 86.
[9] Yan Geling, "The Manifesto of the Weak—Written on the <少女小渔>Occasion of the Film's Award," by Yan Geling, Bohemian House, p. 94.
[10] Yan Geling, "The Manifesto of the Weak: Written on the <少女小渔>Occasion of the Film's Award," by Yan Geling, Bohemian House, p. 97.
[11] Yan Geling, Fusang, p. 187, People's Literature Publishing House, October 2015, 1st edition, first printing.
[12] Yan Geling, Little Aunt Duohe, p. 55, First Printing of The First Class of Writers Publishing House, April 2008.
[13] Yan Geling, Little Aunt Duohe, pp. 96-97.
[14] Yan Geling, "Sex and Literature: A Speech for the Chicago Chinese Writing Association," by Yan Geling, Bohemian House, p. 86.
[15] Manor, "Research on the Hot Spots of "Chinese Literature" from the Perspective of Editors", Journal of Shantou University (Humanities and Social Sciences Edition), No. 8, 2018.
[16] Huang Yanbo, "A Study of Yan Geling's Early Life," Chinese Literature, No. 4, 2013, p. 37.
[17] Yan Geling, "Why I Write<人寰>," by Yan Geling, Bohemian House, pp. 121-122.
[18] Liu Jianmei, "On the Tragedy of Maternal Love", by Liu Zaifu, Liu Jianmei, Bai Ye, and Ye Hongji, eds., Pp. 130-134.