图书标签: 历史 女性研究 海外中国研究 中国 DorothyKo 女性 文化研究 缠足
发表于2024-11-21
Cinderella's Sisters pdf epub mobi txt 电子书 下载 2024
The history of footbinding is full of contradictions and unexpected turns. The practice originated in the dance culture of China's medieval court and spread to gentry families, brothels, maid's quarters, and peasant households. Conventional views of footbinding as patriarchal oppression often neglect its complex history and the incentives of the women involved. This revisionist history, elegantly written and meticulously researched, presents a fascinating new picture of the practice from its beginnings in the tenth century to its demise in the twentieth century. Neither condemning nor defending foot-binding, Dorothy Ko debunks many myths and misconceptions about its origins, development, and eventual end, exploring in the process the entanglements of male power and female desires during the practice's thousand-year history. "Cinderella's Sisters" argues that rather than stemming from sexual perversion, men's desire for bound feet was connected to larger concerns such as cultural nostalgia, regional rivalries, and claims of male privilege. Nor were women hapless victims, the author contends. Ko describes how women - those who could afford it - bound their own and their daughters' feet to signal their high status and self-respect. Femininity, like the binding of feet, was associated with bodily labor and domestic work, and properly bound feet and beautifully made shoes both required exquisite skills and technical knowledge passed from generation to generation. Throughout her narrative, Ko deftly wields methods of social history, literary criticism, material culture studies, and the history of the body and fashion to illustrate how a practice that began as embodied lyricism - as a way to live as the poets imagined - ended up being an exercise in excess and folly.
高彦颐,(Dorothy Ko) 美国斯坦福大学国际关系学学士、东亚历史系博士,专攻明清社会史及比较妇女史。曾任教加州大学圣地亚哥分校及新泽西州立罗格斯大学历史及妇女研究系,现为纽约哥伦比亚大学巴纳德分校历史系教授。近作有《步步生莲:绣鞋与缠足文物》(Every Step a Lotus:Shoes for BoundFeet)及《闺塾师:明末清初江南的才女文化》(TeaeheFS of the Inner Chambers:Women andCulture in Seventeenth—Century China)等书。
Female agency in footbinding
评分自我重复、过犹不及,与其说修正不如说补充。无统一缠足史、整体性现代化革新述说蒙蔽个人地方主体性和情感体验,自皆有理,但在解构整体线性东方形象之际却奇怪地如同男人凝视女性小脚般建起细碎柔软自我矛盾的个体/地方式东方世界。解构反缠足史较好,世界观(外国人看中国、现代化对身体完整性与审美性之要求—天足、国人形象、重述历史、女性地位与身体从属于男性现代化语言的解放述说)和实际政策(女性教育、山西放足与老年女性抵触等)论述完整。缠足部分却自认无法抵近修正史观核心—缠足女性个人情感与身体主体性之释放,主体性在闺塾师中使用较好,此书则不仅篇幅远小,且以诗文器具图片(许多制作者还是男性)硬拗反推。一时谈国族政体、一时说地方社会,时空性大失平衡。写成了一幅社会高压、男性奇异审美、女性私密呢喃的光怪陆离马赛克。
评分在关于缠足和不缠足的争论中,又或者是缠足的历史中,女性在哪里?她们的感受,疼痛又或是自豪究竟是从何而来?把女人的事情还给女人,整篇文章在我看来就是对于那个男性臆想的讽刺,HEAR THE UNHEARD VOICES,真好看。
评分在关于缠足和不缠足的争论中,又或者是缠足的历史中,女性在哪里?她们的感受,疼痛又或是自豪究竟是从何而来?把女人的事情还给女人,整篇文章在我看来就是对于那个男性臆想的讽刺,HEAR THE UNHEARD VOICES,真好看。
评分得晚期福柯真传,哈哈
“缠足”这一话题产生了多久就谈论了多久,但无非都以谴责封建思想对妇女的压制为主,而高彦颐以不同的视角给我们呈现了一部缠足史,展现了不同的内涵。在这部书中,女性的声音没有被埋没,女性被真正的作为一个话语主体而呈现出来。 “玉足三寸波澜显,青瓦一片苔痕见”,女...
评分“缠足”这一话题产生了多久就谈论了多久,但无非都以谴责封建思想对妇女的压制为主,而高彦颐以不同的视角给我们呈现了一部缠足史,展现了不同的内涵。在这部书中,女性的声音没有被埋没,女性被真正的作为一个话语主体而呈现出来。 “玉足三寸波澜显,青瓦一片苔痕见”,女...
评分提起缠足,你会想到什么?“老太太的裹脚布——又臭又长”或者“小脚一双,眼泪一缸”?的确,缠足对我们来说已是一个不远不近的历史存在:说它不近,是因为它已不是我们这代人需要面对的习俗进而不再是我们熟悉的领域;说它不远,是因为也许我们的祖辈女性之中还有,或者...
评分金莲足与高跟鞋 Ⅰ“金莲”神话 缠足,作为一项为古代华夏民族中所独有的奇异习俗,如今似乎早已在现代国人的生活中销声匿迹,但作为一种文化现象却依然存在诸多未解的迷思。而高跟鞋作为一种风靡全球的时尚鞋制,也早已成为现代都市中摩登女郎们的足下必备之物,但其本质...
评分曾祖母是小脚女人。据父亲说身量矮小,白净,柔顺。是大家闺秀的样子。 因此早在习学“缠足之害”这些主流话语以前,我便已形成对缠足的复杂认知:缠足事关承担家道中落之痛的曾祖父,事关吸食鸦片养四房姨太太的曾曾祖父,事关那些似是而非的家族兴衰史。缠足于我不...
Cinderella's Sisters pdf epub mobi txt 电子书 下载 2024