Li Ju-Chen

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Li Ju-Chen

 

(also named Sung-shih). Born circa 1763; died circa 1830. Chinese writer and philologist.

Li Ju-chen was the author of the satiric novel Flowers in the Mirror (1828), which combined aspects of fantasy, the “scholarly novel,” and the travel novel. In this work he advocated women’s equality and criticized the pedantry of scholars who isolated themselves from life. Flowers in the Mirror is written in slightly archaic language, which borders on the colloquial. The few but expressive details impart a high degree of authenticity to the allegorical narrative. Li Ju-chen wrote the study on Chinese phonetics Mirror of Phonology and a number of essays.

WORKS

In Russian translation:
Tsvety vzerkale. Foreword by O. L. Fishman. Moscow-Leningrad, 1959.

REFERENCES

Semanov, V. I. Evoliutsiia kitaiskogo romana. Moscow, 1970. Pages 46–59.
“Hsü Shih-nien, Lüeh t’an, Ching hua yüan.” Chungkuo ku-tien hsiaoshuo p’inglun chi. Peking, 1957.
Chung-kuo wen-hsüeh shih, vol. 4. Peking, 1957. Pages 196–201.
Chung-kuo hsiao-shuo shih kao. Peking, 1960.
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References in periodicals archive ?
Bao, Jialin (Chia-lin Pao Tao) "Li Ruzhen de Nannu Pingdeng Sixiang" ("The Feminist Thought of Li Ruzhen").
Li Ruzhen, furthermore, recommended the use of the game for learning basic phonological principles in his aforementioned compendium.
As we saw, Li Ruzhen, in a later work, noted, through the words of an imaginary interlocutor, that "everybody" had difficulties identifying syllables with the same initial, whereas an understanding of the functioning of rhymes was much more widespread.
A character in Li Ruzhen's novel, for instance, managed to insult an unknowing person merely by couching the insult in fanqie spelling pairs.
In Chapter 5, "Flowers in the Mirror: Feminism as Illusion," Ma explores the feminist ideal and the patriarchal reality represented in Li Ruzhen's Destiny of Flowers in the Mirror.
Li's discriminating appraisal of pronunciations) by the Qing scholar Li Ruzhen [TEXT NOT REPRODUCIBLE IN ASCII] (c.
Shortly after the Qianldng [TEXT NOT REPRODUCIBLE IN ASCII] reign (1736-1796), Li Ruzhen presented a five-tone Mandarin phonology in his Lishi yinjian, which he completed in 1805.
Li Ruzhen was quite explicit about the inclusion of the two types in Lishi yinjian, which also incorporated both the southern five-tone and the northern four-tone systems of Mandarin.
Roddy focuses on Wu Jingzi's Rulin waishi, but also discusses at length Xia Jingqu's Yesou puyan and Li Ruzhen's Jinghua yuan.
6383), Roddy looks into the intellectual background of Wu Jingzi, Xia Jingqu, and Li Ruzhen: family connections tie Wu Jingzi to the ritual studies of Yan Yuan and Li Gong; Xia Jingqu can be connected to Changzhou scholarship through his patron Yang Mingshi; and Li Ruzhen was introduced to kaozheng studies by his teacher Ling Tingkan, who wrote on ritual classics, phonology, and mathematics.
The protagonists of Li Ruzhen's fiction are one hundred girls who turn scholarship into a game but compete successfully in Empress Wu's examinations for women.
In writing women's history, one would assume that male writers who were sympathetic to women, such as Cao Xueqin (17157-63) and Li Ruzhen (1763?-1830?), would represent women with fewer "distortions" than other male writers; accordingly, Mann makes good use of Cao's classic novel Honglou meng (Dream of the Red Chamber, c.