2) "Men write Ci as Women"
男子而作闺音
1.
Tian Tongzhi discusses Ci in the words of "Men write Ci as Women",which accurately grasps the idiosyncrasy of this paradigm in terms of Character,Scene and Emotion.
田同之以“男子而作闺音”论词,准确地把握了词最为范式化的特质。
3) Description of the female world
拟作闺音
4) feminine writing styles
闺音
1.
There are many operas without spoken parts written by male feminine writing styleswriters while representing female consciousness, which, with various genres but quite similar styles, are undoubtable works written by men with feminine writing styles, and surely are important and indispensable texts of feminism literature criticism.
散曲中有不少男性作者创作出表现女性意识的作品,这类作品风格多样,而又肖似女性,是无可置疑的"男子而作闺音",理应成为女性主义文学批评的不可或缺的重要文本。
5) guige authoress
闺阁作家
6) a noble girl
闺阁女子
1.
Their literature and cultural qualities have been analyzed from the angle of a common girl and a noble girl.
文章将尤三姐与林黛玉合在一起作整体观照,从民间女子与闺阁女子的角度,分析她们的文学、文化渊源,比较二人之死的不同情形,并从柳湘莲与贾宝玉的角度来看二人之死,廓清对尤三姐的误读,重新认识宝黛爱情,试图对《红楼梦》中尤、林这两个文学形象及其爱情作出新的阐释。
补充资料：闺妇
【诗文】：
斜凭绣床愁不动，红销带缓绿鬟低。
辽阳春尽无消息，夜合花前日又西。
【注释】：
【出处】：
全唐诗
斜凭绣床愁不动，红销带缓绿鬟低。
辽阳春尽无消息，夜合花前日又西。
【注释】：
【出处】：
全唐诗
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条