Cinderella's Sisters

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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。

出版者:University of California Press
作者:Dorothy Ko
出品人:
页数:360
译者:
出版时间:2007-12-17
价格:USD 34.95
装帧:Paperback
isbn号码:9780520253902
丛书系列:
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 
  •  
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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.

具体描述

读后感

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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...  

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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...  

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之前看完写了这样一段短评: 令人手不释卷的那种好看,尤其翻译也好,不过第四、五章看得我很晕。作者尤其敏感的是近现代中国的男性精英在落后的焦虑之下,使用民族-国家和种族进化的话语重新规训和打压女性。她认为在缠足史中女性并非是全然被动的受害者,而是仍然具有一定的...  

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上世纪80年代,“中国文化热”方兴未艾,有关缠足的论著大批量出现,但大多纠缠于以现代医学、功能观、及女性主义去盖棺论定,“五四妇女史观”的旧调依然清晰辨别,诸如“缠了足,便是废物中的废物”,易招“外人野蛮之讥”等。这一认知范式流布之广之深,就连汉学权威费正清...  

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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...  

用户评价

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谁在替谁发声~

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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。

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One of the most fascinating works on Chinese gender issues. 即使缠足的背景下女性的"选择"是rearragement of desires,作者做到了她想要阐述的“ongoing conflicts”. Definitely a masterpiece. 整本书是我revisionist historiography的启蒙。

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One of the most fascinating works on Chinese gender issues. 即使缠足的背景下女性的"选择"是rearragement of desires,作者做到了她想要阐述的“ongoing conflicts”. Definitely a masterpiece. 整本书是我revisionist historiography的启蒙。

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总觉得隔靴瘙痒

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