Writing is like a rite of passage to Qiu Miaojin. The dramatic scenes serve as metaphors of social behavior. From gender performativity to death performance, Qiu Miaojin challenges predestined social boundaries by the agency of drama. There is no essence in gender identity at all, and the relationships between gender, body, and style need to be clarified. Body is regarded as model of social body, on which boundaries and prohibitions are imposed by moral judgments. This is why monsters (like Crocodile in her novel) are considered abjection. Writing uncovers the underneath violence and discovers the chaotic state. On the one hand, we can reflect the absence of the existing social order in the Limen state; on the other hand, the impact of writing can transform the meaning of harm as well as sublimate abjection and can discover new possibilities of the relationship with the Other. Epistolary opens the space of dialogue inside the writer. Love letters, diaries, and suicide notes can reconstruct the narrative. Qiu Miaojin considers herself as a “lover.” “Love is to give what one does not have;” “loving woman” is more close to “contribution” than just “the given,” and Qiu Miaojin even devotes herself in the most luxurious forms of life ── “death” to the sacrifice. Writing is a creative action to resist the injustice, just as the “theater of cruelty” can do. Qiu Miaojin faces the “cruel” reality of life situations, and she had been much more “cruel” to conquer it. By art, Qiu Miaojin suspends the madness and the cycle of crime and punishment. Even more, Qiu Miaojin creats the milestone in lesbian writing and the value of an individual life. At last, Qiu Miaojin completes the rite of passage.
|Date of Award||2011|
|Supervisor||Wei-Zhen Su (Supervisor)|