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.
关于缠足的文字之前也零散的在一些社会性别研究的刊物中读到过,但并没有什么深刻的记忆,老生常谈的批评总是难以让人有所关注。 读高老师的关于《缠足——<金莲崇拜>盛极而衰的演变》的读后感缘起于复旦的邂逅,那场关于何震的圆桌会议让我被这位谦和睿智,坦率爽...
評分在所有中国传统习俗中,缠足也许是最难以为现代人所接受和理解的:它被普遍视为一项令国人难以启齿的尴尬遗产,即使是传统文化的坚定拥护者,也不会为之辩护,更不用说倡导延续这一旧俗了。人们对缠足有着鲜明的道德判断——它无论如何不能算是一项“好”的传统,最好不要去提...
評分关于缠足的文字之前也零散的在一些社会性别研究的刊物中读到过,但并没有什么深刻的记忆,老生常谈的批评总是难以让人有所关注。 读高老师的关于《缠足——<金莲崇拜>盛极而衰的演变》的读后感缘起于复旦的邂逅,那场关于何震的圆桌会议让我被这位谦和睿智,坦率爽...
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...
評分在關於纏足和不纏足的爭論中,又或者是纏足的曆史中,女性在哪裏?她們的感受,疼痛又或是自豪究竟是從何而來?把女人的事情還給女人,整篇文章在我看來就是對於那個男性臆想的諷刺,HEAR THE UNHEARD VOICES,真好看。
评分在關於纏足和不纏足的爭論中,又或者是纏足的曆史中,女性在哪裏?她們的感受,疼痛又或是自豪究竟是從何而來?把女人的事情還給女人,整篇文章在我看來就是對於那個男性臆想的諷刺,HEAR THE UNHEARD VOICES,真好看。
评分revisionist in a positive sense
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。
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