高彥頤,(Dorothy Ko) 美國斯坦福大學國際關係學學士、東亞曆史係博士,專攻明清社會史及比較婦女史。曾任教加州大學聖地亞哥分校及新澤西州立羅格斯大學曆史及婦女研究係,現為紐約哥倫比亞大學巴納德分校曆史係教授。近作有《步步生蓮:綉鞋與纏足文物》(Every Step a Lotus:Shoes for BoundFeet)及《閨塾師:明末清初江南的纔女文化》(TeaeheFS of the Inner Chambers:Women andCulture in Seventeenth—Century China)等書。
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.
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...
評分 評分太艰涩了,无论是写得过程还是写出来的东西都太艰涩了。 女性主义将看似“自然的”化作“历史的”,历史学也是同样。 --------------------- 在贺萧和王政以“社会性别”这一分析范畴在中国历史研究领域的应用为主题所做的文献综述中,高彦颐的《缠足》一书被描述为“颠覆了中...
評分 評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...
得晚期福柯真傳,哈哈
评分revisionist in a positive sense
评分body technology
评分讀瞭一篇中文譯本的書評,受瞭些誤導,以為作者是在強調女性在纏足傳統中的主動權,而淡化瞭女性受害的實質。其實作者隻是為瞭說明曆史不會像教科書裏寫的那樣齊整、同質。曆史一定是雜亂的。在每一段突顯“進步”的大型敘事下,一定有無數代錶“反動”的劇情。被高歌稱頌的“反”纏足運動中,其實充滿瞭矛盾、反復、虛假,和不久即被官方敘事淹沒的聲音。
评分感覺現在好多revionist啊...私以為本書其實就是替當時的保守派人士發聲。其實當時的保守派人士就是看到瞭舊製度的優點。
本站所有內容均為互聯網搜索引擎提供的公開搜索信息,本站不存儲任何數據與內容,任何內容與數據均與本站無關,如有需要請聯繫相關搜索引擎包括但不限於百度,google,bing,sogou 等
© 2025 book.quotespace.org All Rights Reserved. 小美書屋 版权所有