The Chinese Exotic: Modern Diasporic FemininityThe Chinese Exotic examines new representations of diasporic Chinese femininity emerging from Asia Pacific modernities since the late twentieth century. Through an analysis of cultural artefacts such as films, popular fiction, food and fashion cultures, the book challenges the dominant tendency in contemporary cultural politics to define Chinese femininity from a mainland perspective that furthermore equates it with notions of primitivism. Rather, the book argues for a radical reconfiguration of the concept of exoticism as a frame for understanding these new representations. This engaging study raises important questions on the relationship between the Chinese diasporas and gender. The Chinese Exotic provides a timely critical intervention into the current visualizations of diasporic Chinese femininity. The book contends that an analysis of such images can inform the reconfigured relations between China, the Chinese diasporas, Asia and the West in the context of contemporary globalization, and in turn takes these new intersections to account for the complex nature of modern definitions of diasporic Chinese femininity. |
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第 1 到 3 筆結果,共 23 筆
第 38 頁
John and his friends discuss how the handover will affect Hong Kong , and one of them says that it was given democracy in 1984 as a ' present that can just be taken away . This metaphor of the ' present ' is another way of signifying ...
John and his friends discuss how the handover will affect Hong Kong , and one of them says that it was given democracy in 1984 as a ' present that can just be taken away . This metaphor of the ' present ' is another way of signifying ...
第 95 頁
He says , it is “ old cinema ” , and that “ it's over , hopefully ” . The films that the journalist finds fascinating are those of John Woo , whose scenes of murder and destruction are like " ballet " ; " choreography of extreme ...
He says , it is “ old cinema ” , and that “ it's over , hopefully ” . The films that the journalist finds fascinating are those of John Woo , whose scenes of murder and destruction are like " ballet " ; " choreography of extreme ...
第 102 頁
She is the Paris underworld . She is working class Paris . ... Irma Vep is street thugs and slums ! Les Vampires is not Fu Manchu . ” Laure , who has been asked to take over Maggie's role , laughs , and says , “ I don't know .
She is the Paris underworld . She is working class Paris . ... Irma Vep is street thugs and slums ! Les Vampires is not Fu Manchu . ” Laure , who has been asked to take over Maggie's role , laughs , and says , “ I don't know .
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action alternative American appears argues Asia Asian Asian Australian Australian becomes body centre chapter character characterises China Chinese Box Chinese exotic Chinese femininity cinema colonial concept concern constructed context created critical cross cross-cultural cultural described desire diasporic Chinese discourse discussed displacement dominant East economic emergence ethnic ex-centric example exchange exoticism fact fantasy fashion female figure film fold functions further gender global Hong Kong identity images interesting involved Irma Vep kind literature look Maggie marked meaning model minority movement multiculturalism narrative Never notes novel object operates Orientalism original ornament particular performative play politics popular positions possible practices production question reading refers region relation relationship representation represented role says screen sense shift South space specific stars story structure suggests texts translation University Vampires various visibility West Western whereby woman women writing