This thesis focuses on two novels of early 2000s Beijing: "Beijing Doll" by Chun Sue and "Fucker" by Yin Lichuan. These authors are often labelled as 'beauty writers' and are therefore associated...Show moreThis thesis focuses on two novels of early 2000s Beijing: "Beijing Doll" by Chun Sue and "Fucker" by Yin Lichuan. These authors are often labelled as 'beauty writers' and are therefore associated with the a group of Shanghai-based authors. This thesis focuses on beauty and gender structures within these novels to find out if these authors are challenging the traditional patriarchal gender construction. This thesis also looks into the role of (domestic and international) publishers into the branding of these authors.Show less
This thesis analyses the reception of three Chinese women writers (Mian Mian, Wei Hui and Chun Shu), part of a group of female authors known as Beauty Writers, by professional critics and popular...Show moreThis thesis analyses the reception of three Chinese women writers (Mian Mian, Wei Hui and Chun Shu), part of a group of female authors known as Beauty Writers, by professional critics and popular readers. The reception of the Beauty Writers by the public in the People’s Republic of China, their native country, has been the focus of very few researches. I seek to add to the existing corpus of research by analysing two different types of reviews: the comments of intellectuals, such as professional critics, fellow writers, editors and professors, and the reviews of general readers who published their remarks on the internet. I will base the examination of the comments on the theory of reader-response criticism, which was born in Western literature and states that the reader shapes the meaning of a text, and that the text is thus not an isolated and self-standing work. By considering the external elements that help the readers judge a work, I seek to understand the reasons behind the positive or negative comments on the Beauty Writers’ works, which have drawn much media attention soon after their publications in the early 2000s. I propose that despite the early heated discussions about the literary worth of the Beauty Writers, in the end the perception of their writing style has reached normalisation, with the inclusion of the writers in the history of Chinese literature.Show less
