Imagined communities: Reflections on the origin and spread of nationalism

萨义德以其独特的双重身份,对西方中心权力话语做了分析,通过对文学作品、演讲演说等文本的解读,将O rie n ta lis m——"东方学",做了三重释义:一门学科、一种思维方式和一种权力话语系统,对东方学权力话语做了系统的批判,同时将东方学放入空间维度对东方学文本做了细致的解读。

萨义德的“Orientalism”释义

Bodies That Matter: On the Discursive Limits of “Sex”

Frantz Fanon’s explosive Black Skin, White Masks is a merciless expose of the psychological damage done by colonial rule across the world. Using Fanon’s incisive analytical abilities to expose the consequences of colonialism on the psyches of colonized peoples, it is both a crucial text in post-colonial theory, and a lesson in the power of analytical skills to reveal the realities that hide beneath the surface of things.  
Fanon was himself part of a colonized nation – Martinique – and grew up with the values and beliefs of French culture imposed upon him, while remaining relegated to an inferior status in society. Qualifying as a psychiatrist in France before working in Algeria (a French colony subject to brutal repression), his own experiences granted him a sharp insight into the psychological problems associated with colonial rule.  
Like any good analytical thinker, Fanon’s particular skill was in breaking things down and joining dots. His analysis of colonial rule exposed its implicit assumptions – and how they were replicated in colonised populations – allowing Fanon to unpick the hidden reasons behind his own conflicted psychological make up, and those of his patients. Unflinchingly clear-sighted in doing so, Black Skin White Masks remains a shocking read today.

An Analysis of Frantz Fanon's Black Skin, White Masks

Rabelais and His World.

"Minority Rules" is an ethnography of a Chinese people known as the Miao, a group long consigned to the remote highlands and considered backward by other Chinese. Now the nation's fifth largest minority, the Miao number nearly eight million people speaking various dialects and spread out over seven provinces. In a theoretically innovative work that combines methods from both anthropology and cultural studies, Louisa Schein examines the ways Miao ethnicity is constructed and reworked by the state, by non-state elites, and by the Miao themselves, all in the context of China's post-socialist reforms and its increasing exchange and fascination with the West. She offers eloquently argued interventions into debates over nationalism, ethnic subjectivity, and the ethnography of the state. Posing questions about gender, cultural politics, and identity, Schein examines how non-Miao people help to create Miao ethnicity by depicting them as both feminised keepers of Chinese tradition and as exotic others against which dominant groups can assert their own modernity. In representing and consuming aspects of their own culture, Miao distance themselves from the idea that they are less than modern. Thus, Schein explains, everyday practices, village rituals, journalistic encounters, and tourism events are not just moments of cultural production but also performances of modernity through which others are made primitive. Schein finds that these moments frequently highlight internal differences among the Miao and demonstrates how not only minorities but more generally peasants and women offer a valuable key to understanding China as it renegotiates its place in the global order. Based on extensive, multisite fieldwork, this book will interest scholars of Asian studies, anthropology, gender studies, post-colonialism, ethnic studies, and cultural studies.

Minority Rules: The Miao and the Feminine in China’s Cultural Politics

On a visit to the nearest city-Kaili-during my 1988 field year in southeast Guizhou,' I encountered an unexpected ritual. Or was it really so unexpected? In 1986, a new six-story building had been constructed to supplement the mildewed older structure that used to house the city's No. 1 Guest House. Kaili was, after all, the capital of the Miao and Dong Autonomous Prefecture of Southeast Guizhou province in China's southwest, and its mountainous and scenic but barely arable terrain inhabited by several minority groups meant that its best hope for economic development was the promotion of tourism.2 The new hotel complex was dubbed the Nationalities Guest House.3 Teenaged girls were recruited from the countryside to work as receptionists, waitresses, and chambermaids-and to stage culture. A representative sampling of different minorities, subgroups, and costume styles had been chosen and each employee was to wear her distinctive headdress at all times. Regular duties included not only the usual hotel drudgery, but also an occasional pose in full costume for foreign travelers' cameras, and performances of song and dance to visiting tour groups. The ritual I witnessed on this particular day, however, was another variant of packaged ethnic performance. Kaili has also been promoted

Gender and internal orientalism in China

1. Translocal China: An Introduction 2. The Original Translocal Society and its Modern Fate: Historical and Post-Reform South China 3. Shanxi as Translocal Imaginary: Reforming the Local 4. Openness, Change and Translocality: New Migrants' Identification with Hainan 5. How Local are Local Enterprises?: Privatization and Translocality of Small Firms in Zhejiang and Jiangsu 6. Urban Transformation and Professionalization: Translocality and Rationalities of Enterprise in Post-Mao China 7. Symbolic City/Regions and Gendered Identity Formation in South China 8. "Net-Moms": A New Place and a New Identity - Parenting Discussion Forums on the Internet in China 9. The Village as Theme Park: Mimesis and Authenticity in Chinese Tourism 10. The Flows of Heroin, People, Capital, Imagination and the Spread of HIV in Southwest China 11. Negotiating Scale: Miao Women at a Distance 12. The Leaving of Anhui: The Southward Journey Towards the Knowledge Class

Translocal China : linkages, identities, and the reimagining of space

It is dusk in the Miao mountains of Guizhou, China, September 1993a quintessential site for Western ethnological and Chinese nativist imaginings alike. A wedding is under way. The couple being wed are educated local youth with good jobs-she an elementary-school teacher, he the manager of the subcontracted state dry goods outlet in the Miao market town of Xijiang. Amidst firecrackers, the guests are arriving bearing shoulder poles of gifts-pork, sticky rice, home-brewed liquor, quilts, fabric. The bride stays in the nuptial chamber while guests are received at a long table in the central room of the groom's house and are offered a simple meal and some shots of home brew. Languorously, the bride makes up her face with powder, blush, lipstick, and eyeliner, then dresses in Miao finery-a full-length pleated skirt layered with a circle of embroidered bands, a jacket laden with brocade, applique, and silver panels, chokers and chain necklaces of delicately handwrought silver. Her hair is thickened with extra strands and combed upward into a topknot dense enough to support the weighty silver ornaments that will complete the ensemble. Just then a group of city friends arrive, classmates from the days when the couple attended high school in the prefecture seat. The firecrackers they set off are so noisy as to put the local village guests to shame. Then, the piece de resistance-the gift borne on shoulder poles. It is an ostentatious yard-long framed wall hanging behind glass, a photographic decoration slated for the walls of the nuptial chamber. The picture, in a bizarre juxtaposition with the bride, even upstaging her, is of a blonde model in a hot-pink G-string bikini supine atop a snazzy racing car. Lovingly, the hanging is given front center placement among the other gifts-heaps of quilts and household goods-on display in the nuptial chamber for guests to review. Upon completion of her ethnic adornment, the bride poses with the thing. As representations of white women continue to deluge the globe, an initial task of this essay is to explore how such renderings mean within particular contemporary Chinese contexts. The account above suggests that the erotic codes through which most Westerners read the exposure of female-gendered flesh may be idiomatic. That a young woman of China's Miao minority would, in the midst of her own beautification as bride, Louisa Schein

https://www.jstor.org/stable/pdfplus/466836.pdf

The consumption of color and the politics of white skin in post-Mao China

fabric. The bride stays in the nuptial chamber while guests are received at a long table in the central room of the groom's house and are offered a simple meal and some shots of home brew. Languorously, the bride makes up her face with powder, blush, lipstick, and eyeliner, then dresses in Miao finery-a full-length pleated skirt layered with a circle of embroidered bands, a jacket laden with brocade, applique, and silver panels, chokers and chain necklaces of delicately handwrought silver. Her hair is thickened with extra strands and combed upward into a topknot dense enough to support the weighty silver ornaments that will complete the ensemble. Just then a group of city friends arrive, classmates from the days when the couple attended high school in the prefecture seat. The firecrackers they set off are so noisy as to put the local village guests to shame. Then, the piece de resistance-the gift borne on shoulder poles. It is an ostentatious yard-long framed wall hanging behind glass, a photographic decoration slated for the walls of the nuptial chamber. The picture, in a bizarre juxtaposition with the bride, even upstaging her, is of a blonde model in a hot-pink G-string bikini supine atop a snazzy racing car. Lovingly, the hanging is given front center placement among the other gifts-heaps of quilts and household goods-on display in the nuptial chamber for guests to review. Upon completion of her ethnic adornment, the bride poses with the thing. As representations of white women continue to deluge the globe, an initial task of this essay is to explore how such renderings mean within particular contemporary Chinese contexts. The account above suggests that the erotic codes through which most Westerners read the exposure of female-gendered flesh may be idiomatic. That a young woman of China's Miao minority would, in the midst of her own beautification as bride,

Louisa Schein

Papers

Minority Rules: The Miao and the Feminine in China’s Cultural Politics

Gender and internal orientalism in China

Translocal China : linkages, identities, and the reimagining of space

The consumption of color and the politics of white skin in post-Mao China

The Consumption of Color and the Politics of