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.