晚清民初的殖民刻板印象与武士化的知识男子气概

IF 1 4区 社会学 Q2 AREA STUDIES
J. Lei
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引用次数: 0

摘要

本文采用融合性别、种族和殖民主义的交叉性研究方法,阐释了二十世纪之交中国文人的武学趋势。在梁启超倡导的晚清改革派知识分子话语中,它分析了三种种族化的殖民主义刻板印象:“娘娘腔”的儒家文人、“东亚病夫”和“黄祸”。目的是揭示这些刻板印象作为中华民族和中国男子气概的意识形态重构的附带因素。我认为,尽管西方殖民主义逻辑和性别政治的同源性有力地操纵了对中国男子气概的叙述,但中国男性知识分子并没有被动地接受“中国佬”的东方化形象。相反,他们策略性地重新利用了这些刻板印象,并发明了一种新的种族和性别政治的同源性,以解决对种族、国家和男性性能力的持久关注。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Colonial Stereotypes and Martialized Intellectual Masculinity in Late Qing and Early Republican China
This article adopts an intersectional approach incorporating gender, race, and colonialism to illuminate a martial trend among Chinese men of letters at the turn of the twentieth century. Within the late Qing reformist intellectual discourses championed by Liang Qichao, it analyzes three racialized colonialist stereotypes: the “effeminate” Confucian literatus, the “Sick Man of East Asia,” and the “Yellow Peril.” The purpose is to reveal these stereotypes as collateral elements of the ideological reconfigurations of the Chinese nation and Chinese masculinities. I argue that although the homology of Western colonialist logic and gender politics powerfully manipulated narratives on Chinese masculinities, male Chinese intellectuals did not passively adopt orientalized images of “Chinamen.” Rather, they strategically reappropriated these stereotypes and invented a new homology of racial and gender politics in order to address abiding concerns with race, nation, and male sexual potency.
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来源期刊
Modern China
Modern China AREA STUDIES-
CiteScore
1.70
自引率
10.00%
发文量
26
期刊介绍: Published for over thirty years, Modern China has been an indispensable source of scholarship in history and the social sciences on late-imperial, twentieth-century, and present-day China. Modern China presents scholarship based on new research or research that is devoted to new interpretations, new questions, and new answers to old questions. Spanning the full sweep of Chinese studies of six centuries, Modern China encourages scholarship that crosses over the old "premodern/modern" and "modern/contemporary" divides.
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