• Post-colonialism and critical race theory
Both critical race theory and postcolonial thought help us see that race and racism
have social sources and consequences, and they critique systems of racial
dominance with the hope of helping us create more racially just societies
批判种族理论和后殖民思想都帮助我们看到种族和种族主义有社会根源和后果，他们批评种
族主导制度，希望帮助我们创造更公平的种族社会
只是殖民主义的不同阶段。
因此，认识到这些权力动态在原住民和定居者之间，在精英和当权者之间，和那些权力较小
的人之间，在某种程度上被剥夺了我们所需要的系统的权利
Critical race and postcolonial theories emerged out of—and represent intellectual
challenges to – the recognition of racial oppression.关键种族和后殖民主义理论出现了,并代表
了对种族压迫的认识挑战。
For critical race scholars, racial categories like Black, White, Latino, Asian, Mulatto,
etc., are social constructions, produced not by biology but by social relationships,
cultural meanings, and institutions like law, politics, religion, and the state.对于批判
种族的学者来说，种族类别，如黑人、白人、拉丁裔、亚裔、黑白混血儿等，是社会建构，不是由生物学产生，而
是由社会关系、文化意义和法律、政治、宗教和国家等制度产生
基于种族、阶级、性别、性取向
• Situated knowledges and positionality
the perception of any situation is always a matter of an embodied, located subject
and their geographically and historically specific perspective, a perspective
constantly being structured and restructured by the current conditions.任何情况的感
知总是一个实体、位置的问题,以及他们在地理上和历史上特定的角度,一个不断由当前条件结构和重构的观点。
Therefore, how we see dance and dance films is impacted by our situated
knowledges – by the learned, embodied, geographically and historically-specific
perspectives that we carry with us.我们如何看待舞蹈和舞蹈电影受到我们所处情境知识的影响——受
我们所携带的学习的、具体的、地理的和历史的特定视角的影响
My idea：就是说，他们认为：种族，肤色等认知问题是后天决定的，由社会关系，文化，法律政治，国家制度组
成。并且每个人的思维模式取决于他们所处的环境（地理位置，历史）
• Cultural and subcultural capital
In the 1970s French sociologist Pierre Bourdieu developed the idea of cultural
capital as a way to explain how power in society is transferred and maintained.
• While Karl Marx believed economic capital (money and assets) dictated your
position in a social order, Bourdieu believed that cultural capital played an
important, and subtle role.
20 世纪 70 年代，法国社会学家皮埃尔·布迪厄提出了文化资本的概念，以此来解释社会权力
是如何转移和维持的
•While Karl Marx believed economic capital (money and assets) dictated your
position in a social order, Bourdieu believed that cultural capital played an
important, and subtle role.
卡尔·马克思认为经济资本(货币和资产)决定了你在社会秩序中的地位，布尔迪厄认为文化资
本发挥着重要而微妙的作用。
Cultural capital is the accumulation of knowledge, behaviors, and skills that a
person can tap into to demonstrate one's cultural competence and social status.
文化资本是知识、行为和技能的积累，一个人可以利用这些知识、行为和技能来展示自己的
文化能力和社会地位。
Cultural capital is objective, embodied and institutionalized.文化资本是客观的、具象的、
制度化的。
Cultural capital is the accumulation of knowledge, behaviors, and skills that a
person can tap into to demonstrate one's cultural competence and social status.亚
文化资本指的是个人在亚文化中可以获得的知识、行为和技
Hip pop：group culture， but the film 所以我们知道我们知道嘻哈实际上根本不是亚文化的一
部分。
Black characters in the films are less likely to benefit from exposure to cultural
capital of white characters. The transfer of dance knowledge and status typically
goes in only one direction.
电影中的黑人角色不太可能从白人角色的文化资本中受益。舞蹈知识和地位的转移通常只朝
着一个方向发展。
There is a pattern in dance film where “whiteness” is associated with ballet and
“blackness” is associated with hip hop.
在舞蹈电影中有一种模式，“白人”与芭蕾有关，“黑人”与嘻哈有关。
When white characters enter predominantly black spaces they benefit from their
cultural capital and the privilege it entails
当白人角色进入以黑人为主的空间时，他们受益于他们的文化资本及其带来的特权
Black characters in the films are less likely to benefit from exposure to cultural capital of white
characters. The transfer of dance knowledge and status typically goes in only one direction
电影中的黑人角色不太可能从白人角色的文化资本中受益。舞蹈知识和地位的转移通常只朝着一个方向发展
• Code-switching
Code-switching involves adjusting one’s style of speech, appearance, behavior,
and expression in ways that will optimize acceptance and elevate social standing.
语码转换包括调整一个人的说话风格、外表、行为和表达方式，以优化接受度和提高社会地
位。
Code-switching is particularly apparent where and when members of marginalized
groups interact with and try to fit into the dominant culture
当边缘化群体的成员与主流文化互动并试图融入主流文化时，语码转换尤其明显
In dance films, code-switching occurs most often when white characters make
subtle and overt changes to their clothing, hair style and body language in order to
gain in status and social mobility.
在舞蹈电影中，代码转换最常发生在白人角色为了获得地位和社会流动性而在服装、发型和
肢体语言上做出微妙而明显的改变时。
Dance films are records of society’s beliefs about racial categories, inequities and discrimination.
舞蹈电影记录了社会对种族类别、不平等和歧视的信仰。
• Colonialism and critical race studies
Class and dance
Post-Race? Post-Class?
Canada is not post-racial but characterized by systemic racism.
加拿大不是后种族主义，而是以系统性的种族主义为特征。
class conscious and Classist.存在阶级意识和阶级主义
DEF： Classism refers to the differential treatment based on social class or perceived
social class.阶级主义是指基于社会阶层或感知社会阶层的区别对待
Classism is the systematic oppression of subordinated class groups to advantage and
strengthen the dominant class groups.阶级主义是对从属阶级群体的有系统的压
迫，以有利于和加强支配阶级群体。
It includes：
1. The systematic assignment of characteristics of worth and ability based on social
class.它包括基于社会阶层的价值特征和能力特征的系统分配。
2. Individual attitudes and behaviors;个人的态度和行为
3. Policies and practices that are set up to benefit the upper classes at the expense
of the lower classes, resulting in drastic income and wealth inequity;为了上层阶级
的利益而牺牲下层阶级利益的政策和做法，导致了严重的收入和财富不平等;
4. The rationale that supports these systems and this unequal valuing 支持这些体系
的基本原理和这种不平等的价值
Classism is held in place by a system of beliefs and cultural attitudes that ranks
people according to economic status, family lineage, job status, level of education,
and other divisions.阶级主义是由一种信仰和文化态度体系所形成的，这种体系
根据经济地位、家庭血统、工作地位、教育水平和其他划分来对人们进行排名。
Internalized classism is the acceptance and justification of classism by working class
and the poor people. Examples include: feelings of inferiority to higher-class people;
disdain or shame about traditional patterns of class in one’s family and a denial of
heritage 内化阶级主义是工人阶级和穷人对阶级主义的接受和辩护。例如:对上
流社会的人有自卑感;对家庭中传统阶级模式的蔑视或羞耻，以及对传统的否定
给钱 support art=upper art
某些舞蹈与上流社会有关，而其他舞蹈与下层社会有关，我们在处理二分法
dichotomies.
High art is, supposedly, appreciated by those with the most “cultivated taste” (upper
classes)高雅艺术，据说，欣赏那些最“有教养的品味”(上层阶级)
Low art is for the masses, accessible and easily comprehended.
低级艺术是为大众，可访问和容易理解。
Value judgement
We've moved from what we consider low art and high art to how that functions
within cultural stratifications, cultural divides within society.我们已经从我们所认为
的低级艺术和高级艺术转向了它们如何在文化分层中，在社会中的文化差异中
发挥作用。
High culture identifies the culture of an upper class that is cultured, educated and
affluent“高级文化”一词指的是有文化、受过教育和富裕的上层阶级的文化
Low culture identifies the culture of an lower class that is less cultured, less educated
and poor 低文化”一词指的是文化程度较低、受教育程度较低且贫穷的较低阶层
的文化
so there's this value judgment that the artistic pursuits and expressions that are
associated with high culture and high art are somehow better right?
相比之下，low art 的雕塑显示了明显的劳动，把 Crump 看做成为一个形式，
想想那个形式的面部表情，它在展示一种痛苦，一种挣扎，是那种形式的一部
分。但结果是，这种粗糙，这种以 high art 衡量的极端肢体却告诉人们：
Crump 缺乏技巧。
道德美学的观念：美德是白人与生俱来的特征，而非白人没有。因此，那些没
有了解白人文化的人将不会拥有一个有道德有美感的生活。所以这是关于阶级
的强加，高雅的艺术与文化，对低地位群体的标准。
电影：
1. 低级艺术的区别
2. 舞蹈作为逃离下层社会的一种手段，通过舞蹈，这些电影中的孩子/青少年将能够获得比他们父母更好的生活，避免
被他们的阶级预先决定的未来
3. 以贫困的有色人种社区为中心
4. One is imposed from the outside dominant culture to cultivate stability and grace; the other is self-imposed from
the inside marginalized culture to navigate dominant culture with pride 一种是从外部主导文化强加的，以培养稳定和
优雅;另一种是边缘文化内部的自我强加，以自豪地驾驭主流文化。
Social Mobility 社会流动性：
In modern societies, social mobility is typically measured by generational
improvement in terms of socioeconomic levels and occupations.在现代社会中，社
会流动性通常由社会经济水平和职业方面的代际改善来衡量
They only learning their own culture dance, because of their community
两个不同肤色的人相互教学，但是总感觉白人可以受益更多，能够推动自己
High art and low art：
但是，很早的芭蕾舞随着舞团迅游表演，算不上一个高雅的 art
Dance & Sexuality：
Sexuality as culturally constructed 性行为是文化建构的
Sexuality is constantly being constructed and reconstructed through socio-cultural
processes and practices.性行为不断地通过社会文化的过程和实践来构建和重建。
Aspects of sexuality that are influenced by culture include values, such as decisions
regarding appropriate sexual behaviors, suitable partner or partners, appropriate
age of consent, as well as who is permitted to decide what constitutes appropriate
sexuality.受文化影响的性方面的方面包括价值观,比如关于适当的性行为、合适
的伴侣或伴侣的决定、适当的同意年龄,以及谁被允许决定什么是适当的性行为。
A combination of social, cultural, religious factors and media influence sexual
development, sexual relationships, sexual identity and sexual function.
社会、文化、宗教因素和媒体共同影响性发展、性关系、性认同和性功能。
What’s relatively new,is 相对较新的观点是:
1) the idea that our desires reveal some fundamental truth about who we are, and
我们的欲望揭示了关于我们是谁的一些基本真相
2) the conviction that we have an obligation to seek out that truth and express it.
我们有义务寻找真相并将其表达出来。
Within this framework, sex isn’t just something you do. Instead, the kind of sex you
have (or want to have) becomes a symptom of something else: your sexuality 在这
个框架内，性不仅仅是你做的事情。相反，你所拥有的性爱(或想拥有)变成了另
一种症状:你的性取向
Sexism is linked to beliefs around the fundamental nature of women and men and
the roles they should play in society.性别歧视与围绕女性和男性的基本本性以及
他们在社会中应该扮演的角色的信念有关。
（性别歧视造成的等级）Such hierarchical thinking can be conscious and hostile, or
it can be unconscious, manifesting itself as unconscious bias.这种等级思维可以是
有意识的、充满敌意的，也可以是无意识的，表现为无意识的偏见。
In feminist theory, the male gaze is the act of depicting women and marginalized
people, in the visual arts and in literature, from a masculine, heterosexual
perspective that presents and represents women as sexual objects for the pleasure
of the heterosexual male viewer.在女权主义理论中，男性凝视是在视觉艺术和文
学中，从男性化、异性恋的角度来描绘女性和边缘人群的行为，它将女性作为
性对象来呈现和表现，以满足异性恋男性观众的快感。
To dance, to be “sexy,” is to be desirable according to aesthetic standards of
heteronormative desire and availability 跳舞，要“性感”，根据异性恋规范的欲望
和可用性的审美标准，是可取的。
Even in actively resisting or subverting the male gaze, heteronormative,
nonheteronormative and queer communities and individuals are doing so in
response to the male gaze 异性恋、非异性恋和酷儿社区和个人即使在积极抵制
或颠覆男性凝视时，也在这样做以回应男性凝视
The male gaze dictates what is sexy, what is not sexy as well as who is and isn’t sexy,
according to age, size, ability, race, ethnicity, class, and what constitutes beauty.男
性的目光决定了什么是性感，什么不性感，以及谁性感，谁不性感，根据年龄、
身材、能力、种族、民族、阶级，以及什么构成了美。
Prevailing ideas of what constitutes appropriate sexuality - as something that is
culturally constructed, evolving, and reinforced through the male gaze - not only tells
us who is sexy and models what behaviours or events are ideal, it also tells us what
we should and should not be ashamed of.关于什么是合适的性取向的流行观点—
—这是一种通过男性凝视在文化上构建、发展和加强的东西——不仅告诉我们
谁是性感的，什么样的行为或事件是理想的，它还告诉我们应该和不应该为什
么感到羞耻。
We often speak of sexual encounters in terms of power (dominant and submissive,
active and passive, giving and taking)我们经常从权力的角度谈论性接触(主导的和
顺从的，主动的和被动的，给予和接受)
Historically, within heteronormative patriarchal societies, men were assigned an
active, dominant role and women (and other marginalized people) a submissive,
passive role.历史上，在异性恋规范的父权社会中，男性被赋予了积极的、主导
的角色，而女性(和其他被边缘化的人)则是顺从的、被动的角色。
In contrast to heteronormative pornography, where many feminists perceive the
most extreme abuses and inequities of power, burlesque is seen as a site of
empowering sexuality 许多女权主义者认为异性恋色情作品是对权力最极端的滥
用和不平等，与之相反，滑稽剧被视为赋予性权力的场所。
Though “free” to express themselves, Ali and Fatima still construct their identities
through the male gaze.阿里和法蒂玛虽然“自由”地表达自己，但她们仍然通过男
性的目光来建构自己的身份
The dancing female body is always sexual, always lustful, always indecent, and must
be suppressed 跳舞的女性身体总是性感的，总是好色的，总是不雅的，必须被
抑制
课程：
The difference between burlesque and pornography is the level of seriousness in
burlesque.
In burlesque, there is a great deal of a sense of play, of cheekiness, of no pun
intended 在滑稽戏中，有大量的戏谑感，厚颜无耻，没有双关语的意图
of flirtatiousness in a way that with pornography, whether film or still or virtual,
digital, it’s very serious.在一种带有色情的方式中,无论是电影还是虚拟的,数字的,
它是非常严肃的。
所有的这一切都是以文化为媒介。
男性凝视不仅仅告诉我们什么是适当的性行为，它还告诉我我们在行为方面应
不应该感到羞耻。
Lecture 5：Gender
• Gender as a social construct 性别作为一种社会结构
Gender is a social construction that is typically described in terms of femininity
and masculinity 性别是一种社会结构，通常用女性气质和男性气质来描述
• Gender identity and gender expression 性别认同和性别表达
Gender is not the same as sex. Although genetic factors typically define a
person’s sex, gender refers to how a person identifies themselves.性别和性
不一样。虽然遗传因素通常决定一个人的性别，但性别指的是一个人如何
定义自己。
Gender is not neatly divided along the binary lines of “man” and “woman.”
性别并不是按照“男人”和“女人”的二元线来划分的。
定义（性别认同 gender identity）：The term gender identity refers to the
personal sense of an individual’s own gender 性别认同一词是指个人对自己
性别的个人感觉
Gender identity is each person’s internal and individual experience of gender.
性别认同是每个人内在的、个体的性别体验
定义（性别表达 Gender expression）： Gender expression is how a person
publicly presents their gender. This can include behaviour and outward
appearance such as dress, hair, make-up, body language, mannerisms and voice
性别表达是一个人如何公开展示他们的性别。这可以包括行为和外表,如服
装、头发、化妆、肢体语言、举止和声音
Social stereotypes about gender, and prejudice and fear towards trans people are
often at the root of discrimination and harassment.社会对性别的刻板印象以
及对跨性别者的偏见和恐惧往往是歧视和骚扰的根源。
Negative attitudes about a trans person’s racial identity, family status or other
grounds can intersect to increase the perceived basis for harassment.对跨性别
者的种族身份、家庭地位或其他理由的消极态度可能会相互交织，增加他
们被视为骚扰的基础。
In order to achieve real change this work needs to meet, include and uphold the
needs and rights of all genders including the ways in which we understand and
communicate gender.为了实现真正的改变,这项工作需要满足,包括和维护所
有性别的需要和权利,包括我们理解和传达性别的方式
• Gendered movement and gendered spheres 性别运动和性别领域
芭蕾舞：白人，高艺术，女性气质
From these three patterns, we can unequivocally agree that dance films represent
ballet as white, elitist and gendered.从这三种模式中,我们可以明确地同意,舞蹈电
影将芭蕾作为白色、精英和文雅
The tension that is created in both films is around ballet’s extreme emphasis on
aesthetics – strength, agility, grace, slimness, elitism – and gender stereotypes.两部
电影中所产生的紧张关系,都是在芭蕾舞界对美学的极端强调——力量、敏捷性、
优雅、苗条、精英主义和性别刻板印象。
Ballet requires women to dance delicately on pointe, while men are obligated to
perform large jumps, fast turns, and lift their female partners 芭蕾舞要求女性用足
尖优雅地跳舞，而男性则有义务表演大跳跃、快速转身和举起他们的女性伙伴
Classical ballet choreography provides few opportunities for these roles to be
reversed; gender stereotypes of dance attire and movement vocabulary reinforce
these binary roles 古典芭蕾舞编舞几乎没有机会改变这些角色;性别刻板印象的
舞蹈服装和运动词汇强化了这些二元角色
• The non-conforming body as a source of danger 作为危险源的不合格机构
Classical ballet choreography provides few opportunities for these roles to be
reversed; gender stereotypes of dance attire and movement vocabulary reinforce
these binary roles 一个双重约束的例子是女性领导——过于强硬,他们是“破坏者”,
过于关心和宽容,他们“软弱无力
• Gender as a social construct 性别作为一种社会结构
Gender non-conformity is perceived as a threat to heteropatriarchy 性别不一致被
视为对异性父权制的威胁
Many dance forms are built on gender binary as they reinforce acceptable
stereotypes of heteronormative roles and behaviour 许多舞蹈形式是建立在性别二
元基础上的，因为它们加强了对异性恋角色和行为的可接受的刻板印象
课上：
many religions, many politicians, many political entities, would like to maintain this
binary because it's the way it's always been right or it's the way it's always been right.
许多宗教，许多政治家，许多政治实体，都想维持这种二元对立，因为它一直
都是正确的，或者说它一直都是正确的。
It maintains traditional power, dynamics that it maintains traditional power,
dynamics that are effective in terms of patriarchy, right patriarchy really is found
founded and draws a great deal of strength to justify its actions on these very neat
binary distinctions a
per person. Gender. Identity is not restricted to being either a man or a woman, and
some people do not identify with any gender, while others identify with multiple
genders.
它维持着传统的权力，维持着传统权力的动力，这种动力在父权制方面是有效
的，父权制确实是建立在基础上的，并吸引了大量的力量来证明它的行为是正
确的，在这些非常简洁的二元区别上
人均。性别。身份并不局限于男性或女性，有些人不认同任何性别，而另一些
人则认同多种性别
Also some studies around comparative culture and comparative philosophy that
would suggest that North American traditional, North American culture that keeps
these to this dichotomous relationship of man and woman, masculine, feminine, are
actually in the minority.
还有一些关于比较文化和比较哲学的研究表明，北美传统文化，北美文化坚持
男女，男性化和女性化的二分关系，实际上是少数。
从 11.09 开始看
Lecture 5： Dance & Intersectionality
Intersectionality is the concept that all oppression is linked.交叉性是指所有的压迫都是相互
关联的
Intersectionality refers to the interconnected nature of social categorisations such as race,
class, and gender, regarded as creating overlapping and interdependent systems of
discrimination or disadvantage 交叉性指的是种族、阶级和性别等社会分类之间相互关联
的本质，被视为创造了重叠和相互依赖的歧视或劣势系统。
交叉性的概念描述了基于性别、种族、民族、性取向、性别认同、残疾、阶级和其他
形式的歧视的不平等制度如何“交叉”以产生独特的动力和影响。
Intersectionality is the acknowledgement that everyone has their own unique experiences of
discrimination and oppression and we must consider everything and anything that can
marginalize and segregate people – gender, race, class, sexual orientation, physical ability,
language, belief, etc.交叉性是承认每个人都有自己独特的歧视和压迫经历，我们必须考
虑到一切可能使人们边缘化和隔离的因素——性别、种族、阶级、性取向、身体能力、
语言、信仰等
Within the intersectional framework, aspects of one’s identity including but not limited to
race, gender, sexuality, and ability, are interdependent and can magnify the discrimination or
marginalization a person may experience.在交叉框架内，一个人的身份的各个方面，包括
但不限于种族、性别、性取向和能力，是相互依存的，可以放大一个人可能经历的歧
视或边缘化。
All forms of inequality are mutually reinforcing and must therefore be analysed and addressed
simultaneously to prevent one form of inequality from reinforcing another.所有形式的不平
等都是相辅相成的，因此必须同时分析和解决，以防止一种形式的不平等加剧另一种
形式的不平等。
In order to achieve real change this work needs to meet, include and uphold the needs and
rights of all genders including the ways in which we understand and communicate gender.为
了实现真正的改变，这项工作需要满足、包容和维护所有性别的需求和权利，包括我
们理解和沟通性别的方式
Dance is not exempt from multiple layers of oppressions, yet it is less frequently subject to
intersectional critique 舞蹈也不能幸免于多层压迫，但它较少受到交叉批评
Western concert dance training, as well as dance competition culture, exist within structural
systems of oppression that exclude marginalized groups and maintain the status quo by
reflecting the values of the dominant class.西方的音乐会舞蹈训练，以及舞蹈比赛文化，
存在于排斥边缘群体的压迫结构体系中，并通过反映统治阶级的价值观来维持现状。
Dance films are ultimately escapist narratives where the mechanisms of discrimination based
on race, gender, class, and sexuality – as well as ableism and dance language – are more
frequently enabled than dismantled. 舞蹈电影最终是一种逃避现实的叙事，其中基于种族、
性别、阶级和性取向的歧视机制——以及残疾歧视和舞蹈语言——更多地是被启用，
而不是被拆除。
The connected goals of competition and conformity (as well as the desire for a happy ending)
prevent dance films from meeting their intersectional potential.竞争和顺从的相互关联的目
标(以及对幸福结局的渴望)阻碍了舞蹈电影发挥它们的交叉潜力。
Final Essay: 性别阶级权利
可以写多个概念，而不仅限于两个
介绍电影上映的年份和导演，你想简短地解释一下场景，而不需要介绍整个故事。
然后在你分别描述了它们之后，再以把他们交叉来介绍。
这就是 B +论文和 a 论文之间的区别在于扩展分析。
学生可以选择整合一个或多个相关的学术资源。
你必须证明你理解作者的立场，他们在这句话里说了什么，然后你必须证明如何使用
它。
你可以从文章中找到与你想法类似的观点，尽管作者的想法并不是这样。你可以解释
一下：虽然最终作者反对这个观点，但是什么什么
i.e.从你选的一篇文章中得到一个观点，如果它谈到种族，你想说它如何适用或不适用，
但它如何澄清你的理解。
文章为第三人称，第一段在描述视频的时候可以写过去式，第二段就必须用现代时了。
可以把人物想象成为两个机器。他们是如何吸引的，互相移动的，如何表达张力的。
用多种不同的位置来看待这段舞蹈
阅读 2 现代阴婚：Corpse Brides: Yinhun and the Macabre Agency of Cadavers in
Contemporary Chinese Ghost Marriages
https://journals.scholarsportal.info/details/10357823/v43i0001/148_cbyatmciccgm.xm
l
On 30 October 2014, the South China Morning Post reported a most bizarre and
necromantic crime: the police in China’s Shandong Province arrested 11 men for
raiding women’s graves and selling the corpses for “ghost marriages2014 年 10
月 30 日,《南华邮报》报道了一种最奇怪、最具巫术的罪行:中国山东省的警察逮捕
了 11 名男子,罪名是抢劫妇女的坟墓,并将尸体卖给“鬼婚
Depending on such factors as the age of the deceased, physical appearance and
socioeconomic background before death, as well as the freshness of the cadaver
itself, a corpse could potentially sell for more than 20,000 RMB.根据死者的年龄、外
貌、生前的社会经济背景以及尸体本身的新鲜度等因素，一具尸体的售价可能超过 2
万元人民币。
Despite its illegality, yinhun still persists in the rural areas of Shaanxi, Shanxi, Henan,
Hebei, and Guangdong Provinces 尽管存在违法行为，但在陕西、山西、河南、河
北和广东等省的农村地区，音昏仍然存在
In this article, we opine that as lifeless ritual objects, corpses are nonetheless charged
with powerful affects by their still-living relatives who remember them and treat
them as alive. 在这篇文章中，我们认为，作为没有生命的仪式对象，尸体仍然被他
们仍然活着的亲属所铭记，并将他们视为活着的人
In China, the dead are often enshrined on family altars as ancestors (zuxian, 祖先),
and given offerings during certain festive days in the social calendar. We further
argue that the dead also perform a macabre sort of affective labour in ghost
marriages 在中国，死者通常被供奉在家庭的祭坛上作为祖先(祖贤，祖先)，并在社
会日历的特定节日里提供祭品。我们进一步认为，亡灵在冥婚中也扮演着一种可怕
的情感劳动
The Rites of Zhou, a classical treatise on bureaucracy and organisational theory
traditionally attributed to the mystical Duke of Zhou of the Zhou dynasty (c. 1046–
256 BCE), prohibits in verse 118 of the chapter “Diguan Situ” (“Offices of
Earth”) the removal of the dead for reburial elsewhere, and marrying one’s fianc
é(e) even though s/he died before attaining adulthood at age 20. This proscription
proves that the Chinese already practised ghost marriages 3,000 years ago. 《周礼》
是一篇关于官僚主义和组织理论的经典著作，传统上被认为是周朝(公元前 1046-256
年)神秘的周公所著。《周礼》在“地官司徒”一章的 118 节中禁止将死者移走，重
新安葬在其他地方，禁止与某人的 fiancé(e)结婚，即使他/她在 20 岁前成年。这一
禁令证明，中国人在 3000 年前就已经实行冥婚了。
Wolf (1974a) reduces religion to a legitimating device for power, but Yang (2011) insists that we treat the Chinese
religious domain and its structure of sovereign power as an originary and encompassing power construct that each
historical period reproduced with variations.将宗教简化为一种合法的权力工具，但 Yang(2011)坚持认为，我们将中国
的宗教领域及其主权权力结构视为一种原始的、包罗一切的权力结构，每个历史时期都以不同的形式再现。
With the help of a spirit medium–matchmaker, the groom’s family proposed the marriage to the bride’s, drew up
the list of bride-wealth and dowry items, ritually sought the approval of the deceased for their upcoming union, and
then performed the wedding ritual.在灵媒媒媒的帮助下，新郎的家人向新娘的家人求婚，列出新娘的财富和嫁妆清单，
以仪式的方式寻求死者对他们即将到来的结合的认可，然后举行婚礼仪式。
Even today, sons remain especially prized for extending the patriline. 即使在今天，儿子在延续父系方面仍然受到特别
重视
A woman typically married exogamously to contribute to her affinal lineage. She had no right to be enshrined as an
ancestor on her natal family’s altar. 女性通常会与异族通婚，以延续自己的后代。她没有权利作为祖先被供奉在娘家的
祭坛上
Indeed, some Chinese believed that placing the spirit-tablet of an unmarried daughter on the ancestral altar would
only provoke the wrath of the other ancestors, and invite disastrous consequences 事实上，一些中国人认为，把未婚
女儿的灵位放在祖坛上只会激怒其他祖先，并招致灾难性的后果
Given the male prerogative to beget heirs, this first marriage would not stop him from remarrying.考虑到男性有生育
后代的特权，这第一次婚姻并不会阻止他再婚。
The groom’s family gave the informant a symbolic bride price of 4,000 RMB (US$670), and the sister was married off
three days later. 新郎的家人象征性地给了举报人 4000 元(670 美元)的彩礼，三天后妹妹就被嫁出去了
The neighbour had wanted for some time to find a new wife for his deceased father, so his classmate helped him via a
third party for a sum of 70,000 RMB (US$12,000). The interviewee did not know anything about the bride’s family, as
none of them had attended the yinhun ceremony.这位邻居一直想为他已故的父亲找一个新妻子，所以他的同学通过
第三方帮助他，并支付了 7 万元人民币(1.2 万美元)。受访者对新娘的家人一无所知，因为他们都没有参加过阴昏仪式。
The yinhun groom, like his living counterpart, is also generally senior to the bride in terms of age, education, income
and social status 和现实生活中的新郎一样，“银昏”的新郎在年龄、教育程度、收入和社会地位方面通常也比新娘年
长
ghost marriages appear to persist more among the less well-educated, although this observation may be rooted in
the fact that Chen conducted her interviews in a rural village. 冥婚似乎在受教育程度较低的人群中更持久，尽管这一
观察结果可能是基于陈在农村进行采访的事实
教育低下，但有钱？
bride’s willing family normally receive as bride-wealth), and her biological kin were conspicuously missing from the
wedding itself.而新娘的家人通常只会收到几千元作为新娘的财富)，而她的亲生亲属显然没有出现在婚礼上
China now experiences a “compression of history”, where pre-modern, modern and postmodern practices co-exist
as the country rapidly modernises 中国现在经历了“历史压缩”，随着国家快速现代化，前现代、现代和后现代实践
共存
I don’t have to know where it came from. If I can provide my deceased father with a wife, then I’m a good son in the
eyes of my village. That’s all that matters 我不需要知道它是从哪里来的。如果我能给我死去的父亲娶到一个妻子，那
么在我的村子里，我就是一个好儿子。这才是最重要的
这些莫须有的规范，约束着参与冥婚的宗教信徒，用无辜女性的尸体标榜着作为男人
的高尚道德
As lifeless bodies, cadavers may be bought and sold like other commodities, and their gruesome trade morally
justified according to the differential ethical framework discussed above. 作为没有生命的尸体，尸体可以像其他商品
一样被买卖，根据上面讨论的不同伦理框架，这种可怕的交易在道德上是合理的。
Only when so personified can the unmarried dead be said to possess an anger that threatens the living with great
misfortune.只有当未婚的死者被人格化时，才能说他们拥有一种愤怒，这种愤怒会给生者带来巨大的不幸。
虽然这是一个舞蹈，但却讲述了这中国女性在这几千年内受到的不公
阅读 3 女权：Women’s Employment Rights in China: Creating Harmony for Women in
the Workforce
JAMIE BURNETT*
According to China’s National Bureau of Statistics, women make up approximately forty-five percent of the country’
s workforce, but on average the salary of a working Chinese woman is seventy-four percent less than that of a man’
s wage. 根据中国国家统计局的数据，女性约占中国劳动力的 45%，但中国女性的平均工资比男性低 74%
话语权仍然掌握在男性手中