Teachers of the Inner Chambers

出版者:Stanford University Press

作者:Dorothy Ko

页数:416

出版时间:1995-1-1

价格:USD 30.95

装帧:Paperback

isbn号码:9780804723596

具体描述

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.

作者简介

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.

目录信息

Frontmatter
Explanatory Notepage xiii
Selected Reign Periods of the Ming and Qing Dynasties, 1522-1795page xv
Map of Jiangnan Areapage xvi
Introduction: Gender and the Politics of Chinese Historypage 1
PART ONE: SOCIAL AND PRIVATE HISTORIES
1 In the Floating World: Women and Commercial Publishingpage 29
2 The Enchantment of Love in The Peony Pavilionpage 68
PART TWO: WOMANHOOD
3 Margins of Domesticity: Enlarging the Woman's Spherepage 115
4 Talent, Virtue, and Beauty: Rewriting Womanhoodpage 143
PART THREE: WOMEN'S CULTURE
5 Domestic Communities: Male and Female Domainspage 179
6 Social and Public Communities: Genealogies Across Time and Spacepage 219
7 Transitory Communities: Courtesan, Wife, and Professional Artistpage 251
Epiloguepage 295
Notespage 299
Works Citedpage 351
Character Listpage 379
Indexpage 391
· · · · · · (收起)

读后感

高彦颐还有一本著作，就是《缠足：“金莲崇拜”盛极而衰的演变》，我还没有看到。但是从闺塾师这里可以看到一些相同的观点。高彦颐认为五四时期的妇女史观过于强调传统与现代的对立以及传统妇女形象的受害形象，忽略了古代女性在生活中可能扮演的主动角色，及当时女性本...  

Explicitly challenging the May Forth narration of women as victims and slaves under the Feudal system, this work suggests a dynamic tripartite model to study women of the Ming-Qing China: theory or ideal norms, practice, and self-perception (based on Scott...  

僅以46頁其中一段為例： 原文：“There is also the frequent admonition that excess betrays vulgarity.”居然翻譯成：“還有一些勸告，其庸俗性表現的更過分。” 先不說您語法了，單說把vulgar譯成“庸俗”就完全無視語境吧？！附庸風雅這種正面向上積極健康有益市民文化...  

僅以46頁其中一段為例： 原文：“There is also the frequent admonition that excess betrays vulgarity.”居然翻譯成：“還有一些勸告，其庸俗性表現的更過分。” 先不說您語法了，單說把vulgar譯成“庸俗”就完全無視語境吧？！附庸風雅這種正面向上積極健康有益市民文化...  

第一遍看：这都是什么乱七八糟的 第二遍看：好像有点道理 第三遍看：每句话都有特别的涵义 1、很多人纠结，为什么题目是闺塾师，而写的却不是闺塾师？作者已经在文章中阐述了其中的原因： “所有出现在本书中的女性，无论是妻子、女儿或寡妇，都通过她们的作品，互相讲授着各自...  

用户评价

导论和开头几章节非常精彩，融合了多方理论和研究成果。叙事和分析都不弱。偶有逻辑瑕疵，但中心论点没有受到影响。后几章有重复拖沓的感觉。考虑到当时的情况，是一本做出突破性成果的好书。

作為一本批判“五四女性史觀”的經典之作，此書有兩個缺陷，都跟它的subject matter——明清之際的江南文人階級才女——有關：1. 作者提到的江南才女屬於士紳階級，是否status overruling gender才使得她們比一般平民婦女甚至內陸同階層婦女有更多參與文化生活的機會？2. 作者不斷強調明清之交的社會與政治轉型給了江南閨秀拓展女性空間的機會，那麼是不是可以認為明清朝代更替是個特殊情況，本書中的江南才女只是特殊歷史背景下的temporary transgression？結合Matthew Sommer對清代婚姻與性別的法律研究，雍正改革大大延伸了國家對性規範的治理，Ko書中提到的晚明名妓文化也不復存在。兩個缺陷結合起來，本書是否真正推翻了它意圖批判的“五四女性史觀”？

其实还是夹缝中生存…我非常喜欢高老师对Bourdieu理论的运用，嗯再加上他对cultural capital的论述，实在是太适合写明末清初的女画家们了……

按照周老师的话来说，比Susan Mann的那本Precious Records要挑衅的多，不过我还是觉得她叙述很好，但是逻辑有点问题，最后整本书感觉像隔靴搔痒，说了好多又没说好。

按照周老师的话来说，比Susan Mann的那本Precious Records要挑衅的多，不过我还是觉得她叙述很好，但是逻辑有点问题，最后整本书感觉像隔靴搔痒，说了好多又没说好。