Teachers of the Inner Chambers

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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.

出版者:Stanford University Press
作者:Dorothy Ko
出品人:
页数:416
译者:
出版时间:1995-1-1
价格:USD 30.95
装帧:Paperback
isbn号码:9780804723596
丛书系列:
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 
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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.

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总之,封建的、父权的、压迫的“中国传统”是一项非历史的发明,它是三种意识形态和政治传统罕见合流的结果,即“五四”新文化运动、共产主义革命和西方女权主义学说。 受害的“封建”女性形象之所以根深蒂固,在某种程度上是出自一种分析上的混淆,即错误地将标准的规定视为...  

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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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五四對女學的妄斷造成的負面影響並非對過去,而是對未來。如果人們認為“曾經”的女性如此卑弱,那麼“現在”的女性但凡增獲丁點權利,便視之為重大的勝利。而結果卻是,中國女性在百年前後的地位,其實並沒有根本性的變化。這才是五四女學臉譜化的最大惡果。 而從另一...  

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「闺塾师」中,最让我印象深刻的莫过于「牡丹亭」。那是明代大匠汤显祖的作品。其实从未完整或深刻地去品读这部作品,在有机会认真读文学的时候,我更心向往于那些慷慨激昂或沉稳道来的奏折,对这部剧本的印象也不过停留在执拗的杜丽娘,或是那句“原来姹紫嫣红开遍,似这...  

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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。

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最有意思的两个概念是“the floating world” and "the cult of qing"..最弱的是对gender/class intersectionality的分析..

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欸!

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Master year 1 class reading. But I don't think the instructor herself comprehended this material.

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对五四史观的挑战

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