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。
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.
「缠足」历来被认为是中国妇女史上一个残忍的,甚至带有文化污点式的行为。之前我也并未怀疑过这样的观点,觉得裹脚布就是对女性身体最直接的束缚。但是,读罢高彦颐教授《缠足》一书中的章节,我发现二十世纪初「放足」运动的实施远比想象的复杂,其背后的动机也并非单纯...
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...
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...
总觉得隔靴瘙痒
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。
评分同时参照着看看。
评分读了一篇中文译本的书评,受了些误导,以为作者是在强调女性在缠足传统中的主动权,而淡化了女性受害的实质。其实作者只是为了说明历史不会像教科书里写的那样齐整、同质。历史一定是杂乱的。在每一段突显“进步”的大型叙事下,一定有无数代表“反动”的剧情。被高歌称颂的“反”缠足运动中,其实充满了矛盾、反复、虚假,和不久即被官方叙事淹没的声音。
评分作者描述了自缠足盛行以来各主体围绕三寸金莲进行的知识/话语生产,男性的欲望,暴力,凝视和商品时尚的推波助澜并不足以成为缠足行为的解释。作者认为,女性的身体化体验也是一种知识生产(尽管很少以文字表达),缠足作为一项自我技术亦表现了女性对于美好生活的追求和对自己身体的塑造。作者文笔好,虽然英文版对中文文献的表现稍有隔阂,但最后十页很燃!
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