Embodied Modernities: Corporeality, Representation, and Chinese CulturesFrom feminist philosophy to genetic science, scholarship in recent years has succeeded in challenging many entrenched assumptions about the material and biological status of human bodies. Likewise in the study of Chinese cultures, accelerating globalization and the resultant hybridity have called into question previous assumptions about the boundaries of Chinese national and ethnic identity. The problem of identifying a single or definitive referent for the Chinese body is thornier than ever. By facilitating fresh dialogue between fields as diverse as the history of science, literary studies, diaspora studies, cultural anthropology, and contemporary Chinese film and cultural studies, Embodied Modernities addresses contemporary Chinese embodiments as they are represented textually and as part of everyday life practices. The book is divided into two sections, each with a dedicated introduction by the editors. The first examines Thresholds of Modernity in chapters on Chinese body cultures in the late nineteenth and early twentieth centuries--a period of intensive cultural, political, and social modernization that led to a series of radical transformations in how bodies were understood and represented.The second section on Contemporary Embodiments explores body representations across the People's Republic of China, Taiwan, and Hong Kong today. Contributors: Chris Berry, Louise Edwards, Maram Epstein, Larissa Heinrich, Olivia Khoo, Fran Martin, Jami Proctor-Xu, Tze-lan D. Sang, Teri Silvio, Mark Stevenson, Cuncun Wu, Angela Zito, John Zou. |
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One of the central concerns of the huapu was to identify exactly which feminine traits each dan displayed , both on and off stage . The fashion for feminine boy - actors also meant that the authors of the huapu might exaggerate the ...
Mei's choices are therefore revealing : If one may divide classical Chinese painting in late imperial China into the major , masculine genre of landscape painting and the minor , feminine genre of birds and flowers , then Mei , with the ...
Although Jiaolong is born a biological female and is assigned the social gender role of a daughter of an upper - class household , her sexed embodiment is not purely feminine ( in a culturally intelligible way ) , but rather is an ...