Memoirs by Four Women Soldiers in the Great War and Postwar Period Chenwen Hong University of Connecticut, Storrs, [email protected]
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University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 1-22-2019 Heroine of One Thousand Faces: Memoirs by Four Women Soldiers in the Great War and Postwar Period Chenwen Hong University of Connecticut, Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Hong, Chenwen, "Heroine of One Thousand Faces: Memoirs by Four Women Soldiers in the Great War and Postwar Period" (2019). Doctoral Dissertations. 2041. https://opencommons.uconn.edu/dissertations/2041 Heroine of One Thousand Faces: Memoirs by Four Women Soldiers in the Great War and Postwar Period Chenwen Hong, PhD University of Connecticut, 2019 “Heroine of One Thousand Faces: Memoirs by Four Women Soldiers in the Great War and Postwar Period” is a comparative project that contributes to ongoing conversations within First World War feminist literary scholarship. My study fills in a research gap concerning autobiographies by women soldiers. It explores the autobiographical writings of four women soldiers who came from different nationalities and spoke different languages. Each of their cultures carried different traditions of women warriors, and each woman came from a different class situation, around the globe. Maria Botchkareva, a semi-literate peasant, spoke Russian; Flora Sandes, native to Yorkshire, was a cosmopolitan British woman of Irish descent, who knew French and German and learnt Serbian; Sophie Nowosiełska, an upper-class Polish woman who grew up under Austrian occupation and who, aside from Polish and German, spoke several languages, including Ukrainian and Romanian and some English; Xie Bingying, a prolific woman writer from China and later Taiwan, wrote in Chinese. This dissertation attempts to unveil the multiple faces that these war “she-heroes” presented in their own memoirs, and to consider them as a response to Joseph Campbell’s monomyth of a masculine hero’s journey in The Hero with a Thousand Faces. The four soldiers enlisted in response to the call of mobilization from the military and offered their war memoirs to propagate their patriotism. At the same time, the serialization of their war accounts and the publication histories of their autobiographical self-adaptations indicate that their autobiographies are more than propaganda. Their complex narrative structures, combining verbal with visual features, dramatize the female soldiers’ roles as performers of gender in the theater of war. Heroine of One Thousand Faces: Memoirs by Four Women Soldiers in the Great War and Postwar Period Chenwen Hong B.A. National Kaohsiung Normal University, Kaohsiung, Taiwan 1994 M.A. English, National Cheng-Kung University, Tainan, Taiwan 2003 M.A. University of Maryland, College Park, MD 2007 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy at the University of Connecticut 2019 Copyright by Chenwen Hong 2019 ii APPROVAL PAGE Doctor of Philosophy Dissertation Heroine with One Thousand Faces: Memoirs by Four Women Soldiers in the Great War and Postwar Period Presented by Chenwen Hong, B.A., M.A. Major Advisor __________________________________________________________________ Margaret R. Higonnet Associate Advisor __________________________________________________________________ Margaret Breen Associate Advisor ___________________________________________________________________ Cathy Schlund-Vials University of Connecticut 2019 iii TABLE OF CONTENTS Introduction 1 Chapter 1 Maria Botchkareva, “Russia’s Joan of Arc” or Russian Amazon Queen? 25 Chapter 2 Flora Sandes, “Serbian Joan of Arc” or Irish Britannia? 71 Chapter 3 Sophie Nowosiełska, “Poland’s Joan” or Polonia in Uniform? 120 Chapter 4 Xie Bingying, “Chinese Amazon” or China’s “Girl Rebel”? 167 Conclusion 238 Works Cited 245 iv Hong 1 Heroine of One Thousand Faces: Memoirs by Four Women Soldiers in the Great War and Postwar Period Introduction This comparative project contributes to ongoing conversations within feminist literary scholarship on World War I by filling in a research gap concerning autobiographies by women soldiers. It explores the autobiographical writings of four women soldiers who came from different nationalities and spoke different languages. Each of their cultures carried different traditions of women warriors, and each woman came from a different class situation, around the globe. Maria Botchkareva,1 a semi-literate peasant, spoke Russian; Flora Sandes, native to Yorkshire, was a cosmopolitan British woman of Irish descent, who knew French and German and learnt Serbian; Sophie Nowosiełska2, an upper-class Polish woman who grew up under Austrian occupation and who, aside from Polish and German, spoke several languages, including Ukrainian and Romanian and some English; Xie Bingying,3 a prolific woman writer from China and later Taiwan, wrote in Chinese. This dissertation attempts to unveil the multiple faces of these war “she-heroes” that they presented in their own memoirs, and to consider them as a response to Joseph Campbell’s monomyth of a masculine hero’s journey in The Hero with a Thousand Faces. The four soldiers enlisted in response to the call for mobilization from the military and offered their war memoirs to propagate their patriotism. At the same time, the serialization of their war accounts and the publication histories of their autobiographical self- 1 Despite the different spellings of Botchkareva’s full name, this dissertation follows Isaac Don Levine’s choice of “Maria Botchkareva” in his translation of her memoir. 2 “Sophie Nowosiełska” is the name under which this Polish lieutenant published her memoir in English. I therefore use this spelling rather than the Polish “Zofja Nowosiełska.” 3 This dissertation cites Chinese names in transliteration into English, except for authors who have Americanized names or those whose names have already appeared in references. Hong 2 adaptations indicate that their autobiographies are more than propaganda. Their complex narrative structures, combining verbal with visual features, dramatize the female soldiers’ roles as performers of gender in the theater of war. The four women soldiers’ autobiographical accounts of war appeared during the interwar period, when their nations were in crisis.4 Maria Botchkareva’s Yashka: My Life as Peasant, Officer and Exile was issued in 1919, the “naked year,” when fighting between “Whites” and “Reds” continued. Flora Sandes published An English Woman-Sergeant in the Serbian Army during the war and The Autobiography of a Woman Soldier: A Brief Record of Adventure with the Serbian Army, 1916–1919 later in 1927. Sophie Nowosiełska’s In the Hurricane of War: Memoirs of A Woman Soldier was released in 1929 during her trip to the United States. Xie Bingying’s The Autobiography of a Girl Soldier, one among a series of five versions of her memoir, was printed in 1936. As postwar nationalism unfolded, their autobiographies responded to the need for a solid national identity. Botchkareva’s Yashka was published as a result of her efforts to alter the course of Russian politics and to encourage Allied intervention in the dynamic power shifts and social upheavals of a politically unstable nation. Sandes’s first war text was issued on behalf of Serbia, a nation in a constant state of flux during the Great War; with this text, she acted as a figure for British support of the Serbian army. Nowosiełska arranged the publication of her war memoirs as part of the Polish nationalist effort to forge a national identity after Poland regained independence following World War I. Xie’s war accounts first came out after the fledgling Republic of China struggled to survive wars triggered by the 1919 Peace 4 Since the late 1970s, the term “interwar” was used to refer to the period between 1919 and 1939. On the studies of postwar social issues, see Glynn and Booth, “Unemployment in the Interwar Period” (1975), “Unemployment in Interwar Britain” (1983), and Modern Britain (1996); for the work of feminist historians on women’s employment in the postwar period, see Zimmeck (1984) and Kent (1993). Hong 3 Treaty of Versailles. Over the course of her life, she published a series of five war memoirs issued in different places as China underwent conflicts and civil wars. We should note that the four women soldiers’ war accounts paint a complex picture of war that defies a simplistic interpretation as war propaganda. The four women soldiers recuperated war memories in battle scenes by mixing strategically-placed war photographs and other images within the texts of their autobiographies. Through these highly selective images, each of these women re-presents in the memoir a brave, wounded national she-hero who “performs” rescue tasks and military actions in uniform. Recent war studies have portrayed women as involuntary victims of abduction and forced soldiering,5 but the works of women soldiers I address here tell more than stories of female victims. Their accounts include military portraits or personal photographs featuring female masculinity that not only unsettle the conventional femininity associated with women but also shape a visual story whose gender complexities often contradict textual narratives. Furthermore, as the various texts, produced at different moments of national formation, establish a memoir series by each of the women soldiers, the visual story evolves, allowing each author to interrogate gender undertones under the flag of patriotism.