Embodied Modernities: Corporeality, Representation, and Chinese CulturesFran Martin, Ari Larissa Heinrich University of Hawaii Press, 2006年7月31日 - 300 頁 From 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. |
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第 1 到 3 筆結果,共 33 筆
... stage entry " ( shangchangmen ) and the official seats to the left are called " stage exit " ( xiachangmen ) . Those hankering after dan are known as dou , and they compete for the stalls close to the stage exit . . . . The ticket for ...
... Stage troupes usually take part in three sessions , after which they stand around stage right and stage left and look up toward the balcony . If they notice any familiar guests they rush upstairs to sit with them . Usually there may ...
... stage the male body , but a surface that concealed such a body . Second , the male body did not disappear in toto . It still occupied the center stage of music making , and of dramatic action . But it disappeared as a directly visible ...
內容
TheorizingFetishizing Footbinding | 21 |
The Fate of Male SameSex Prostitution | 42 |
Rewriting Sexual Ideals in Yesou puyan | 60 |
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