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Essays on footbinding
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The practice of Foot-Binding entered into Mainstream Chinese culture around the 12th and 13th centuries (Feng 236), a time when the emerging conservative movement and the creation of a new social class system severely lowered the status of women. The restructuring of the social class system was driven by new and increased prosperity and created a new and higher standard of living that was enjoyed by the new upper class of scholars and farmers. The higher standard of living of the once lower stature classes and the emergence of the increased emphasis on a women’s chastity, left women only one clear option, that is to use the one thing that could be under their and their families control, that is their bodies. The foot-binding movement and ultimately the anti-foot-binding movement were vehicles for a female voice and participation in the social and political changes of the day. The foot-binding movement was not a fashion statement nor was it an un-sensibly inhumane to the women of china; the foot-binding process was a process that was viewed, as part of one’s culture and that must be continued. It was through this understanding of the necessity of the continuance of the tradition, which women discovered that foot biding was a way for them to gain power and social mobility.
Throughout the book, The Three-Inch Golden Lotus, The main character, Fragrant Lotus, demonstrates the slow understanding how she can use her bound feet and how bound-feet in general, had allowed for increased power for women since the 12th century. Moreover, Fragrant Lotus developed an understanding of how foot binding allowed for the historical maintenance of the Chinese societies sole reliance on cultural and customs to dictate the path of society as a whole...
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...table family structure even when a new wife entered her husband’s family. Overall, The psychological process behind foot binding was the process that was cemented in fulfillment of tradition. That psychological process and mindset that has driven Chinese society and traditions can be summarized by the beliefs that the key to beauty is pain, beauty brings virtue, virtue leads to stability which leads to a stable family which creates a stable nation.
Works Cited
Beckingham, Carolyn. Is Fashion a Woman's Right? Brighton [England: Sussex Academic, 2005.
Feng, Jicai. The Three-Inch Golden Lotus. Honolulu: University of Hawaii Press,1999.
Finnane, Antonia. Changing Clothes in China: Fashion, History, Nation. New York: Columbia UP, 2008.
Greenhalgh, Susan. Bound Feet, Hobbled Lives: Women in Old China. Frontiers: A Journal of Women Studies 2.1 (1977): 7-21.
“The Death of Woman Wang”, written by Chinese historian Jonathan Spence, is a book recounting the harsh realities facing citizens of Tancheng country, Shandong Province, Qing controlled China in the late 17th century. Using various primary sources, Spence describes some of the hardships and sorrow that the people of Tancheng faced. From natural disasters, poor leadership, banditry, and invasions, the citizens of Tancheng struggled to survive in a devastated and changing world around them. On its own, “Woman Wang” is an insightful snapshot of one of the worst-off counties in imperial Qing China, however when taking a step back and weaving in an understanding of long held Chinese traditions, there is a greater understanding what happened in
I will be explaining the role of women in society in Bound Feet and Western Dress. The Chinese have traditions that are generations old and are very serious in their culture. These Chinese traditions have been deeply established. In Bound feet and Western Dress, a dispute between Chinese traditions and Westernization of Chinese women begin to emerge. The women in traditional China were treated unequally and were basically looked upon as property for their husband. The women were taken in by the husband’s family and had to always obey their husband and also had to take orders from the husband’s family as well.
Lessons for Women was written by Ban Zhao, the leading female Confucian scholar of classical China, in 100 C.E. It was written to apply Confucian principles to the moral instruction of women, and was particularly addressed to Ban Zhao’s own daughters. As her best remembered work, it allows the reader insight into the common role of a woman during this fascinating time-period. The work starts off by Ban Zhao unconvincingly berating herself, and claiming how she once lived with the constant fear of disgracing her family. This argument is rather implausible, for the reader already knows the credibility of Ban Zhao, and how important her role was in ancient China.
Some of the more fascinating documents of the Han period in ancient China were arguably those written by women. The writings were at once contradictory due to the fact that they appeared to destroy the common perceptions of women as uneducated and subservient creatures while simultaneously delivering messages through the texts that demonstrated a strict adherence to traditional values. Those are the paradoxical characteristics of prominent female scholar Ban Zhou’s work called Lesson for a Woman. Because modern opinions on the roles of women in society likely cloud the clear analysis of Zhou’s work, it is necessary to closely examine the Han’s societal norms and popular beliefs that contributed to establishing the author’s perspective and intent.
In her article "The body as attire," Dorothy Ko (1997) reviewed the history about foot binding in seventeenth-century China, and expressed a creative viewpoint. Foot binding began in Song Dynasty, and was just popular in upper social society. With the gradually popularization of foot binding, in the end of Song Dynasty, it became generally popular. In Qing Dynasty, foot binding was endowed deeper meaning that was termed into a tool to against Manchu rule. The author, Dorothy Ko, studied from another aspect which was women themselves to understand and explained her shifting meaning of foot binding. Dorothy Ko contends that “Chinese Elite males in the seventeenth century regarded foot binding in three ways: as an expression of Chinese wen civility,
Footbinding The republic of China officially banned the traditional Chinese practice of footbinding in 1911. In “Footbinding”, John King Fairbank tells the story of what he learned about the Chinese tradition of footbinding. Footbinding became popular and a symbol of upper-class status, but it then spread to the lower class and soon became a necessity for marriage. Footbinding started out as a sexual erotic way to control women but in turn was more harmful than good.
Many scholars believe his accounts of the city are exaggerated and Marco Polo even states himself “that it is not easy to even put it in writing.” (317). Furthermore his accounts of the women in China seem to be exaggerated as well as missing some information of the society: “These women are extremely accomplished in the arts of allurement, and readily adapt their conversation to all sorts of persons, insomuch that strangers who have once tasted their attractions seems to get bewitched, and are so taken with their blandishments and their fascinating ways that they never seem to get these out of their heads.” (317). While women in China experienced fewer restraints, there were still many patriarchal rules put in place that made women subordinate to men. The act of foot-binding was one such rule which placed an emphasis on “small size, frailty, and deference and served to keep women restricted to the ‘inner quarters’ (331). For reasons unknown, Marco Polo leaves this excruciating detail out of his tales completely, leaving some scholars to question whether he really did make it to
Traditions in Chinese culture are long-rooted and are taken very seriously from generation to generation. However, there must always be room for modern change in order for society to grow and strive across the globe. In Bound Feet and Western Dress the conflict between Chinese traditions and modern change arises. With this conflict it is important to discuss the different meanings of liberation for men and women and they way in which Chang Yu-I was able to obtain liberation throughout her life.
Chen, Jo-shui. "Empress Wu and Proto-feminist Sentiments in T'ang China." In Imperial Rulership and Cultural Change in Traditional China, edited by Frederick P. Brandauer and Chün-chieh Huang. 77-116. Seattle: University of Washington Press, 1994.
O-lan's physical appearance showed her as a very modest woman. When Wang Lung sees her, he stares at O-lan seeing that, "plain though her face was and rough the skin upon her hands the flesh of her big body was soft and untouched . . . her body was beautiful, spare, and big boned yet rounded and soft" (26). From her physical qualities, it is clear that O-lan isn't a spoiled woman who sits around all day, but a hard worker. She is described as an ugly, flat-footed, stolid-faced woman. Many times, Wang Lung secretly wishes that O-lan didn't have such big feet. During the time of this book, women's feet were bound so they would be smaller. O-lan had big feet because they were never bound. This was another aspect of Chinese life that seemed designed to make women suffer was the practice of altering the feet of girls so they could barely walk. The Chinese custom of foot binding was meant to please men esthetically and to enhance a man's status by showing he was wealthy enough for his wife or concubine not to work.
At the center of Japanese and Chinese politics and gender roles lies the teachings of Confucius. The five relationships (五倫) of Confucius permeated the lives of all within the Heian and Tang societies.4 However, the focus here will be on the lives of the courtesans. The Genji Monogatari provides us with an unrivalled look into the inner-workings of Confucianism and court life in the Heian period. Song Geng, in his discourse on power and masculinity in Ch...
Wild Swans: Three Daughters of China begins with author Jung Chang’s grandmother, who was born in 1909 with the name Yu-fang. In traditional Chinese culture, for any hopes of marriage, the mother must first bind her daughter’s feet. Though a long and painful process, foot binding was considered a beautiful trait in Chinese men’s eyes. By the age of two, Yu-Fang’s feet were bounded and were referred to as “Lotus Feet”. Having one’s feet bounded during this time period, made it difficult for a woman to walk, and spent their life in pain due to the broken arch and constant bending of the toes. Her father, Yang, was determined to have his daughter’s social status...
Examples of cultural constructions can be seen throughout history in several forms such as gender, relationships, and marriage. “Cultural construction of gender emphasizes that different cultures have distinctive ideas about males and females and use these ideas to define manhood/masculinity and womanhood/femininity.” (Humanity, 239) In many cultures gender roles are a great way to gain an understanding of just how different the construction of gender can be amongst individual cultures. The video The Women’s Kingdom provides an example of an uncommon gender role, which is seen in the Wujiao Village where the Mosuo women are the last matriarchy in the country and have been around for over one thousand years. Unlike other rural Chinese villages where many girls are degraded and abandoned at birth, Mosuo woman are proud and run the households where the men simply assist in what they need. The view of gender as a cultural construct ...
Through her foot binding, Third Sister is used by See to demonstrate how risky the chase for lotus feet wasl. On page 31, Third Sister is revealed to have had developed blood poisoning from the foot binding, which resulted in her death, bringing the truth about the dangerous practice home. This evidences the lengths that the women of child would go to so they could be accepted and advanced by the men in the society to show the results of egoism and lack of submission in the females of Chinese culture at the time. Despite the risk of the death of their children, mothers in China still bound their daughters’ feet due to the importance placed on small feet; this also helped show how much the men had control over the women. However, despite the importance of this foot binding, Third Sister resisted. The result of her stubbornness was shown on page 30 of the novel, when she struggled
Foot binding began in ancient china during the Tang Dynasty (618-960) and continued until the end of the 19th century. Foot binding began as a practice only for the wealthy women but it eventually spread to the lower classes until about 50% of all women had their feet bound. Women began binding their feet when they were about four years old, the process started in the winter when the cold would numb their feet making the pain more bearable. Bandages were soaked in blood and herbs to soften the feet and were wrapped with 10 feet of wrap and tightened daily to make the foot smaller and shaped like a crescent moon. To achieve a tiny foot some women would put glass shards in their binding to make the toes infected and have to be cut off, many died from the infection they inflicted upon themselves. The ideal shape of the foot was bent like a crescent moon towards the heel and only three inches long, the foot would then be placed in a beautiful tiny shoe and was adored by the men of china. To keep the men from seeing or smelling their infected feet the women would always keep the shoes and bandages on ,except when rebinding, and perfume their feet to keep the foul odor down. Men would choose women for their wives based on their feet; some would even refuse a woman if her feet were not bound. The walk that bound feet caused the women to have been thought to make them more sexually appealing because