Research On Gender Performativity In Love Poems In New Songs From A Jade Terrace

New Songs from a Jade Terrace contains love poems that account for more than half of the total poems,involving three love expression modes: male male(including self),male female and female female(including self).These love poems can communicate with Judy Butler 's theory of gender performativity,which is mutually supported by the rich gender performative phenomenon hidden in poetry.This kind of gender performativity is more reflected to the social meaning of gender.Although it is related to love,it does not obliterate the authenticity of love poetry.The real part.The phenomenon of sexual performativity in the love poems of New Songs from a Jade Terrace is not very obvious,and it is even quite vague in many cases.It is contained in specific text analysis.Moreover,these more obscure phenomena may not directly correspond to the theory of gender performativity,but they still have a coincidence with them.This is the basis for the establishment of the theoretical horizon of this article.The introductory part of this article The first chapter focuses on establishing a theoretical horizon,first introducing the collection of poems in New Songs from a Jade Terrace and its love poems,then combing the feminist view inseparable from the gender analysis in love poems,and Judith· Butler's introduction and interpretation of theory of gender performativity,finally It's a need to establish the feasibility of mutual interpretation from the background of the times and specific texts.On this basis,the three chapters of the dissertation are discussed.The second chapter focuses on the female construction in the writing of male poets.Men are the main subject of love poems and female constructions.The writings of male love poems deeply influence women,and the process of male shaping of women also affects their self-construction.The women portrayed by men are mainly lovesick wives in boudoirs.Their images are not specific and their emotions are biased towards depression.There is a gender performativity in which women are actively or passively adapted to social norms and captured by men.From thisperspective,You can see the most essential characteristics of the relationship between the sexes.The third chapter returns to the male construction in the poetry of male poets.Women are the main part of gender performativity,and men are also involved.When male poets construct themselves and other males,they also reflect a certain degree of gender performativity,which reflects their narcissism when presenting their emotions and observation perspectives.They have femininity brought by gazing at women.The privilege of enjoying homosexual love was the freedom that the gender performativity phenomenon gave them at the time,and this freedom can confirm the theory of gender performativity.The forth chapter reveals the female construction in the writing of female poets.This construction is relatively deficient due to the limitation of the volume of poetry and the female poets themselves.Female poets deliberately present their unsatisfied emotions,their inability to be self-sufficient,and their expectations of the male audience when expressing themselves.Their “showing weakness”-style sex performativity showed their absolute status as the weak,and from this they could give a deep insight into the fate of women at the time.