Conjugal relationship has a predominant role in ancient Chinese familial life. Yet most researches on conjugal relationship have tended to focus on the arrangement of marriage, disregarding marital life after wedding. It is the general impression that matrimonial relation follows the ethics of Confucian doctrine of “the husband as principle of the wife,” or relevant code of laws like “Seven Outs,” edited according to these principles. There are three factors that contribute to marital relationship in the Tang Dynasty: ideology, ethics, and written laws. Although written laws are influenced by Confucian ideology, and hence following Confucian system of manners, on the practical level, ordinance still appears as the most reliable source to analyze familial relationships. People in the Tang Dynasty stress family status when they marry wives, yet when marrying concubines, versatility is of interest. Whereas records in official history documents and epitaphs are not entirely accountable, the complicated relationships between husband and wife, husband and concubine, and that between wife and concubine need to be further illustrated.

By investigating the Tang-Song examples of widows remaining chastity or inviting a jiejiaofu (second husband) into the deceased husbands’ families, this article analyzes widows’ lives and their right to inherit their deceased husbands’ family properties. The conclusion is that widows had only “rights of management,” but not the “possessive right,” over their deceased husbands’ properties. Moreover, the qualities of widows’ lives in their in-law’s families depended on their relationships with the deceased husbands’ brothers. When being treated unfairly, widows often resorted to “the power of the maternal uncle” in order to defend their benefits.

Family division is the way of reproduction of Chinese families and the starting point of building new families. Reasons of family division in the Republic of China include bad terms among sisters-in-law, among brothers, between father and sons, between mother-in-law and daughters-in-law, or working outside. There are three patterns of family division: one-time thorough division, serial division, and special types of division. The circumstances of family division include: inheritance while parents are alive or after their death; equal inheritance among brothers hosted by their uncle (mother’s brother), inheritance rights attributed to the eldest son or grandson, and special principles of property distribution. The rite of family division is quite solemn; documents of family division definitely need to be made with specific regulations. There are three ways of supporting for the eldly, among which leaving some land to parents is popularly adopted in rural China during the Republic period.

The construction of “citizen-state” relations in the intellectual world of modern China and the establishment of individual citizenship in political discourse have opened up a political and discourse sphere for modern women to strive for new identities, wherein some intellectually advanced women have managed to establish their individual identity as “female citizen” by carrying the debate on the relationship between women and the state with regard to their rights and responsibilities, and on the relationship between gender role and citizenship. Though the idea of “female citizen” was not provided with a political theory of practical significance, the subject identity of women, however, was repeatedly spoken about and strengthened in brand-new literary practices, resulting in a dynamic discourse of “female citizen”; in the meantime, disagreements concerning the concepts of “female rights,” “civil rights,” and “natural rights” have all helped create significant tension inside the related discourse sphere.

Wartime Shanghai (1937–1945) was a crucial period in women’s Yue opera history, during which the opera took roots in the city and was transformed into a modern art form. The opera established itself as a dominant presence in the city’s popular entertainment in the first half of the 1940s and gained national and international influence in the 1950s and 1960s with its masterpiece plays such as The butterfly lovers and Dream of the red chamber. The rise of women’s Yue opera in wartime Shanghai was more a ramification of long-term developments in urban migration, urban cultural transformation, and women’s integration into society that ran through the entire Republican even the early PRC periods.