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.
「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...
評分缠足在现代化改革者面前,正如书中提到一样,束缚了改革脚步的陋习被批判,缠足凝结了传统中国的种种偏差和不足:压迫妇女、固步自封、蛮横专制、漠视人权等。缠足即落后。出于好奇,买了这本书,随着这几天翻开书,慢慢看进去,书页翻开另一世界,完全陌生、令人好奇,...
評分提起缠足,你会想到什么?“老太太的裹脚布——又臭又长”或者“小脚一双,眼泪一缸”?的确,缠足对我们来说已是一个不远不近的历史存在:说它不近,是因为它已不是我们这代人需要面对的习俗进而不再是我们熟悉的领域;说它不远,是因为也许我们的祖辈女性之中还有,或者...
評分这本书的英文题目意为“辛德瑞拉的姐妹们”,辛德瑞拉就是格林童话中的灰姑娘。原著中灰姑娘的故事要比现在通行的儿童版本“虐”得多,简直就是西方版的“削足适履”。 作者为什么要研究这个课题?这是我看到这本书时的第一反应,缠足不过是丑陋畸形的审美情趣,而且已经永远地...
評分金莲足与高跟鞋 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...
One of the most fascinating works on Chinese gender issues. 即使纏足的背景下女性的"選擇"是rearragement of desires,作者做到瞭她想要闡述的“ongoing conflicts”. Definitely a masterpiece. 整本書是我revisionist historiography的啓濛。
评分作者的論證和想像力的確讓人欽佩。但是這種高高在上的文化相對主義讓人很不舒服。就因為纏足的話語是多樣的,之前的單一受害者的形象是片麵建構的,就因為現在各類瘦身美容同樣傷害婦女的身體,就因為可以傾聽所謂婦女身體之中隱藏的喃喃之語,就可以否定反對纏足的正麵意義(雖然作者反復強調她沒有這個意圖)?我當然贊成打破那種非黑即白的二元思維,但是假如讓高教授和她的女兒們也來一次纏足,她還會是那種態度嗎?難道當聽到女兒們哭著說 媽媽我疼 的時候,她依然可以說,別哭, 這正是體現我們女人的 主體性 和能動性 的時候瞭!
评分One of the most fascinating works on Chinese gender issues. 即使纏足的背景下女性的"選擇"是rearragement of desires,作者做到瞭她想要闡述的“ongoing conflicts”. Definitely a masterpiece. 整本書是我revisionist historiography的啓濛。
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。
评分作者描述瞭自纏足盛行以來各主體圍繞三寸金蓮進行的知識/話語生産,男性的欲望,暴力,凝視和商品時尚的推波助瀾並不足以成為纏足行為的解釋。作者認為,女性的身體化體驗也是一種知識生産(盡管很少以文字錶達),纏足作為一項自我技術亦錶現瞭女性對於美好生活的追求和對自己身體的塑造。作者文筆好,雖然英文版對中文文獻的錶現稍有隔閡,但最後十頁很燃!
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