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 22 筆
... Peking opera actors Mei Lanfang ( 1894–1961 ) and Zhou Xinfang ( 1895-1975 ) . “ As our country's traditional theater communities and literary and artistic groups are celebrating the birthday centennials of Mei Lanfang and Zhou Xinfang ...
... Peking opera as China's national theater , however , we must consider certain apparent ironies . Trained as an opera singer in the female roles , Mei developed his career by playing an extensive catalogue of glamorous Chinese women ...
... Peking opera , Mei was also ac- companied for such honors by prominent male colleagues such as Chen Yanqiu , another representative in the Peking school , Yu Zhenfei of the classical Kun opera , and Yuan Xue- fen , a female actor of ...
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New Incarnations of | |
TheorizingFetishizing Footbinding | 21 |
The Fate of Male SameSex Prostitution | 42 |
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11 個其他區段未顯示