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.
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。
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...
评分小時候讀《唐祝文周》四傑傳,於一個段落印象頗深。話說唐伯虎為求親近秋香,不惜賣身至相府為僮,新到的書僮首次叩見主母,主母擺開的排場裡就有愛婢秋香。堂堂解元給夫人下跪,他倒也自得其樂:『我不能抬頭飽看秋香的面,何妨低頭細細賞鑒秋香的腳。』作者程瞻廬大抵嫌這描...
评分小時候讀《唐祝文周》四傑傳,於一個段落印象頗深。話說唐伯虎為求親近秋香,不惜賣身至相府為僮,新到的書僮首次叩見主母,主母擺開的排場裡就有愛婢秋香。堂堂解元給夫人下跪,他倒也自得其樂:『我不能抬頭飽看秋香的面,何妨低頭細細賞鑒秋香的腳。』作者程瞻廬大抵嫌這描...
评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...
评分就是想象一个更复杂生动传统女性生活的世界。 客观来讲,现在好像也没有在叙事文本里看到男性知识和权力意志对女性的压迫。怎么就被莫名其妙敌对起来了 但是为自己发声是对的。 神话构建。欲望符码 但是说审美欲望用来取悦别人,这个肯定是不对的。 妇女地位是检验一个国家文明...
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