Author(s)

Juncheng Zhao

College of Arts, Humanities and Social Sciences, The University of Edinburgh, Edinburgh, UK.

This essay argues that Gao Xingjian’s Soul Mountain mobilizes its doubled address (“I/you”) to stage “she” as an experimental construct through which femininity is performed rather than defined. Bringing Gao’s scenes into conversation with Freud’s account of “passive” femininity, the essay critiques biologizing foundations of gendered desire; drawing on Irigaray, it emphasizes the limits of language in articulating feminine pleasure; following Foucault and Butler, it situates “she’s” choices within regimes of heterosexual normativity and their performative reproduction. A comparative interlude with Joyce’s The Dead reads Gretta’s bifurcation of spiritual love and bodily intimacy alongside “she’s” embrace of pleasure as “free love”, clarifying how spiritual attachment can be preserved precisely by withholding sex from the beloved while granting it elsewhere. The essay further locates Gao’s experiment in the context of Chinese patriarchal scripts, underscoring how the heroine names injury, distrust, and desire while declining the law’s demand for coherence. Finally, the recurrent figure of Lingshan (the mountain of soul) refracts the project’s meta-claim: like the mountain that is always “on the other side”, femininity here remains asymptotic—approached through patterns, gestures, and contradictions rather than captured by theory. By tracing form (second-person address, non-linear doubling) alongside content (sex, love, refusal), the essay contributes a model of criticism that privileges descriptive precision over definitional mastery, illuminating how Soul Mountain reimagines femininity as an ongoing practice within and against heteronormative regimes.

Soul Mountain, Feminism, Femininity, Marriage, Gender Performativity

Zhao, J. (2026) “She” in the Eyes of “You”: The Soul Mountain of Femininity Complex. Advances in Literary Study, 14, 19-32. doi: 10.4236/als.2026.141002.