Teachers of the Inner Chambers 在线电子书 图书标签: 女性 Gender 海外中国研究 高彦颐 明清史 DorothyKo 海外中国研究丛书 文化
发表于2024-05-11
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我觉得这本书名字译为女先生或者才女什么的是不是更好一点。文章的问题不是简单的男女权力的不平等问题,而是how the gender system sustained in the Ming-Qing period? 比较喜欢的是讲妇女的知识传承和人际关系的展开。而且还把女艺人courtesan和大家闺秀放在同一个情景里讲,她们之间因为文学的交往更加显示gender as social organisation 而非阶级的分野,她们之间因为需要迎合男性的审美而展开的“美丽”竞争也更加固化了gender system.这样的叙述极大突破了以往妇女史以阶级来划分女性,将艺妓作为专门独立的一个章节的做法。
评分作為一本批判“五四女性史觀”的經典之作,此書有兩個缺陷,都跟它的subject matter——明清之際的江南文人階級才女——有關:1. 作者提到的江南才女屬於士紳階級,是否status overruling gender才使得她們比一般平民婦女甚至內陸同階層婦女有更多參與文化生活的機會?2. 作者不斷強調明清之交的社會與政治轉型給了江南閨秀拓展女性空間的機會,那麼是不是可以認為明清朝代更替是個特殊情況,本書中的江南才女只是特殊歷史背景下的temporary transgression?結合Matthew Sommer對清代婚姻與性別的法律研究,雍正改革大大延伸了國家對性規範的治理,Ko書中提到的晚明名妓文化也不復存在。兩個缺陷結合起來,本書是否真正推翻了它意圖批判的“五四女性史觀”?
评分就是红楼梦啊。。。
评分某种程度上修正得有点过头,当然因为是研究的上层女性,她们因阶级差别享有一定的自由可以理解,但这极少数的女性只能使我们对古代妇女的认识更多样化,不能改变妇女被压迫这一总体的认识。
评分欸!
Professor Ko’s research interest is the everyday lives of women in China –along with the domestic objects they made by hand–as a significant part of country’s cultural, economic and political development. She works at the intersections of anthropology, history, and women’s studies.
Ko’s recent book, Cinderella Sisters: A Revisionist History of Footbinding, published in 2005, shattered the popular conception of footbinding as a tool to oppress women and demonstrated that it was instead a source of female identity, purpose, pride, and power. It won the Joan Kelly Memorial Prize of the American Historical Association, Recently, she has been turning her attention to the skills of women’s artisans such as embroiderers, stone carvers, and ceramic artists. Her research during spring semester, 2004, as a senior fellow at the Hopkins-Nanjing Center’s Institute for International Research in Nanjing, focused on the importance of ancient art of silk-weaving for a study of the dress-making tradition and domestic work culture in China’s silk industry region. More recently, as a fellow at the Needham Research Institute in Cambridge, England, in spring 2007, she researched ancient swordsmith legends for insights into the relations between bodily investments and transformation of matter.
In addition to Cinderella’s Sisters, Ko has written numerous books and publications, including “Between the Boudoir and the Global Market: Shen Shou, Embroidery and Modernity at the Turn of the Twentieth Century,” in Looking Modern (forthcoming), Every Step a Lotus (2001), and Teachers of the Inner Chambers (1994). She is also co-editor of Women and Confucian Cultures in Pre-modern China, Korea, and Japan.
Ko’s courses include Chinese cultural history, body histories, women and culture in 17th century China, and Confucian cultures.
Ko earned undergraduate and advanced degrees at Stanford University, including the doctorate. She has received a number of fellowships and awards. She was a member of the School of Historical Studies at the Institute for Advanced Study (2000-2001), a fellow of the John Simon Guggenheim Memorial Foundation (2000-2001) and a fellow at the Center for Critical Analysis of Contemporary Culture, Rutgers University (1999-2000). Before joining the Barnard faculty in 2001, Professor Ko taught at Rutgers University.
Rejecting popular image and accepted scholarship on the status of women in premodern China, this pathbreaking work argues that literate gentrywomen in seventeenth-century Jiangnan were far from oppressed or silenced. As writers, readers, editors, and teachers, these women created a rich culture and meaningful existence from within the constraints of the male-dominated Confucian system. The author reconstructs the social, emotional, and intellectual worlds of these women from the interstices between ideology, practice, and self-perception. Born out of curiosity about how premodern Chinese women lived, this book proposes a new way to conceptualize China's past. This reconception rests on the premise that by understanding how women lived, we better grasp the dynamics of gender relations and gain a more complete knowledge of the values of Chinese culture, the functioning of Chinese society, and the nature of historical change. The book examines three types of women's communities that developed in this environment: domestic, social, and public. Women from different families, age groups, and social stations were brought together by their shared love of poetry and common concerns as women. Though important at the time, most of these ties proved fragile and transitory because of women's inherently ambivalent position. The author argues that the gender system identified women both by their shared gender, or women-as-same, and by their social station, or women-as-different. This contradiction accorded women freedoms within their own limited spheres, but these spheres were fragmented and often demarcated by the class of male kin. As a result, even the most mobile and articulate of women had noinstitutional means of launching fundamental attacks on the gender system.
高彦颐还有一本著作,就是《缠足:“金莲崇拜”盛极而衰的演变》,我还没有看到。但是从闺塾师这里可以看到一些相同的观点。高彦颐认为五四时期的妇女史观过于强调传统与现代的对立以及传统妇女形象的受害形象,忽略了古代女性在生活中可能扮演的主动角色,及当时女性本...
评分僅以46頁其中一段為例: 原文:“There is also the frequent admonition that excess betrays vulgarity.”居然翻譯成:“還有一些勸告,其庸俗性表現的更過分。” 先不說您語法了,單說把vulgar譯成“庸俗”就完全無視語境吧?!附庸風雅這種正面向上積極健康有益市民文化...
评分海外中国研究,打破刻板印象 《闺塾师——明末清初江南的才女文化》是一本海外学者对中国妇女史的研究著作。作者高彦颐是美国人,纽约哥伦比亚大学的历史系教授,专攻明清社会史及比较妇女史。西方学者的中国史研究,往往与传统视角不同。尽管存在一定文化距离,部分结论有以偏...
评分牡丹亭一节很好看。原来红楼梦与牡丹亭有这样一种内在联系:情。原来情是对道德和阶级的解构,是一种平等意识。(想起来西方对中世纪骑士之爱的解读)。 知道了一些明清之际中上层知识女性的生活。我一直对古代女性挺好奇的:她们可以走出家门吗?她们可以有经济来源吗?她们真...
评分几个月前读《再生缘》,看到孟丽君花烛潜逃之前,自写真容,中有一句“湘裙半舞见金莲”。自写真容无疑是从《牡丹亭》里杜丽娘那儿衍化出来,而在遮蔽物下微微露出的小脚这个意象在前人的描写里更为常见。《香莲品藻》里提到的小脚的三上三中三下九种好处,这“三下”就是帘下...
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