Podcast appearances and mentions of dorothy ko

Porcelain for the Emperor: Manufacture and Technology in Qing China (University of Washington Press; 2023) looks at the history of court-sponsored porcelain production in Qing China through the work and career of the Manchu polymath Tang Ying (1682-1756). Viewing him as a technocrat — an official who combined technological specialization and managerial expertise — Kai Jun Chen uses Tang to explore how porcelain manufacture was carried out in the Qing, how technological innovations were created and passed on, and how technocrats learned their skills. At the same time, the book shows how technocrats imposed and extended imperial order over local society, and how essential technocrats were to the operation and success of Qing cultural policies. Lucidly written and complete with truly striking images, Porcelain for the Emperor is a beautiful combination of the study of material culture, literature, art history, and technology. This book should be of interest not only to historians of the Qing and the early modern world, but also art historians and curators, as well as anyone who has ever seen a piece of Qing porcelain and wondered how it came to be. Curious readers should also seek out Making the Palace Machine Work, co-edited by Kai Jun Chen, Martina Siebert, and Dorothy Ko. Sarah Bramao-Ramos is a PhD candidate in History and East Asian Languages at Harvard. She works on Manchu language books and is interested in anything with a kesike. She can be reached at sbramaoramos@g.harvard.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Porcelain for the Emperor: Manufacture and Technology in Qing China (University of Washington Press; 2023) looks at the history of court-sponsored porcelain production in Qing China through the work and career of the Manchu polymath Tang Ying (1682-1756). Viewing him as a technocrat — an official who combined technological specialization and managerial expertise — Kai Jun Chen uses Tang to explore how porcelain manufacture was carried out in the Qing, how technological innovations were created and passed on, and how technocrats learned their skills. At the same time, the book shows how technocrats imposed and extended imperial order over local society, and how essential technocrats were to the operation and success of Qing cultural policies. Lucidly written and complete with truly striking images, Porcelain for the Emperor is a beautiful combination of the study of material culture, literature, art history, and technology. This book should be of interest not only to historians of the Qing and the early modern world, but also art historians and curators, as well as anyone who has ever seen a piece of Qing porcelain and wondered how it came to be. Curious readers should also seek out Making the Palace Machine Work, co-edited by Kai Jun Chen, Martina Siebert, and Dorothy Ko. Sarah Bramao-Ramos is a PhD candidate in History and East Asian Languages at Harvard. She works on Manchu language books and is interested in anything with a kesike. She can be reached at sbramaoramos@g.harvard.edu Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Porcelain for the Emperor: Manufacture and Technology in Qing China (University of Washington Press; 2023) looks at the history of court-sponsored porcelain production in Qing China through the work and career of the Manchu polymath Tang Ying (1682-1756). Viewing him as a technocrat — an official who combined technological specialization and managerial expertise — Kai Jun Chen uses Tang to explore how porcelain manufacture was carried out in the Qing, how technological innovations were created and passed on, and how technocrats learned their skills. At the same time, the book shows how technocrats imposed and extended imperial order over local society, and how essential technocrats were to the operation and success of Qing cultural policies. Lucidly written and complete with truly striking images, Porcelain for the Emperor is a beautiful combination of the study of material culture, literature, art history, and technology. This book should be of interest not only to historians of the Qing and the early modern world, but also art historians and curators, as well as anyone who has ever seen a piece of Qing porcelain and wondered how it came to be. Curious readers should also seek out Making the Palace Machine Work, co-edited by Kai Jun Chen, Martina Siebert, and Dorothy Ko. Sarah Bramao-Ramos is a PhD candidate in History and East Asian Languages at Harvard. She works on Manchu language books and is interested in anything with a kesike. She can be reached at sbramaoramos@g.harvard.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Porcelain for the Emperor: Manufacture and Technology in Qing China (University of Washington Press; 2023) looks at the history of court-sponsored porcelain production in Qing China through the work and career of the Manchu polymath Tang Ying (1682-1756). Viewing him as a technocrat — an official who combined technological specialization and managerial expertise — Kai Jun Chen uses Tang to explore how porcelain manufacture was carried out in the Qing, how technological innovations were created and passed on, and how technocrats learned their skills. At the same time, the book shows how technocrats imposed and extended imperial order over local society, and how essential technocrats were to the operation and success of Qing cultural policies. Lucidly written and complete with truly striking images, Porcelain for the Emperor is a beautiful combination of the study of material culture, literature, art history, and technology. This book should be of interest not only to historians of the Qing and the early modern world, but also art historians and curators, as well as anyone who has ever seen a piece of Qing porcelain and wondered how it came to be. Curious readers should also seek out Making the Palace Machine Work, co-edited by Kai Jun Chen, Martina Siebert, and Dorothy Ko. Sarah Bramao-Ramos is a PhD candidate in History and East Asian Languages at Harvard. She works on Manchu language books and is interested in anything with a kesike. She can be reached at sbramaoramos@g.harvard.edu Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Porcelain for the Emperor: Manufacture and Technology in Qing China (University of Washington Press; 2023) looks at the history of court-sponsored porcelain production in Qing China through the work and career of the Manchu polymath Tang Ying (1682-1756). Viewing him as a technocrat — an official who combined technological specialization and managerial expertise — Kai Jun Chen uses Tang to explore how porcelain manufacture was carried out in the Qing, how technological innovations were created and passed on, and how technocrats learned their skills. At the same time, the book shows how technocrats imposed and extended imperial order over local society, and how essential technocrats were to the operation and success of Qing cultural policies. Lucidly written and complete with truly striking images, Porcelain for the Emperor is a beautiful combination of the study of material culture, literature, art history, and technology. This book should be of interest not only to historians of the Qing and the early modern world, but also art historians and curators, as well as anyone who has ever seen a piece of Qing porcelain and wondered how it came to be. Curious readers should also seek out Making the Palace Machine Work, co-edited by Kai Jun Chen, Martina Siebert, and Dorothy Ko. Sarah Bramao-Ramos is a PhD candidate in History and East Asian Languages at Harvard. She works on Manchu language books and is interested in anything with a kesike. She can be reached at sbramaoramos@g.harvard.edu Learn more about your ad choices. Visit podcastchoices.com/adchoices

Porcelain for the Emperor: Manufacture and Technology in Qing China (University of Washington Press; 2023) looks at the history of court-sponsored porcelain production in Qing China through the work and career of the Manchu polymath Tang Ying (1682-1756). Viewing him as a technocrat — an official who combined technological specialization and managerial expertise — Kai Jun Chen uses Tang to explore how porcelain manufacture was carried out in the Qing, how technological innovations were created and passed on, and how technocrats learned their skills. At the same time, the book shows how technocrats imposed and extended imperial order over local society, and how essential technocrats were to the operation and success of Qing cultural policies. Lucidly written and complete with truly striking images, Porcelain for the Emperor is a beautiful combination of the study of material culture, literature, art history, and technology. This book should be of interest not only to historians of the Qing and the early modern world, but also art historians and curators, as well as anyone who has ever seen a piece of Qing porcelain and wondered how it came to be. Curious readers should also seek out Making the Palace Machine Work, co-edited by Kai Jun Chen, Martina Siebert, and Dorothy Ko. Sarah Bramao-Ramos is a PhD candidate in History and East Asian Languages at Harvard. She works on Manchu language books and is interested in anything with a kesike. She can be reached at sbramaoramos@g.harvard.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Porcelain for the Emperor: Manufacture and Technology in Qing China (University of Washington Press; 2023) looks at the history of court-sponsored porcelain production in Qing China through the work and career of the Manchu polymath Tang Ying (1682-1756). Viewing him as a technocrat — an official who combined technological specialization and managerial expertise — Kai Jun Chen uses Tang to explore how porcelain manufacture was carried out in the Qing, how technological innovations were created and passed on, and how technocrats learned their skills. At the same time, the book shows how technocrats imposed and extended imperial order over local society, and how essential technocrats were to the operation and success of Qing cultural policies. Lucidly written and complete with truly striking images, Porcelain for the Emperor is a beautiful combination of the study of material culture, literature, art history, and technology. This book should be of interest not only to historians of the Qing and the early modern world, but also art historians and curators, as well as anyone who has ever seen a piece of Qing porcelain and wondered how it came to be. Curious readers should also seek out Making the Palace Machine Work, co-edited by Kai Jun Chen, Martina Siebert, and Dorothy Ko. Sarah Bramao-Ramos is a PhD candidate in History and East Asian Languages at Harvard. She works on Manchu language books and is interested in anything with a kesike. She can be reached at sbramaoramos@g.harvard.edu Learn more about your ad choices. Visit megaphone.fm/adchoices

「As a woman I have no country.」 弗吉尼亚·伍尔夫的这句话频频闪烁在今日女性的脑海。潜入中国历史，我们很难不想到何殷震——这位20世纪初的安那其女权主义者。 在她的同时代，当大部分知识分子通常借用“女性”来讨论“更大的”社会政治问题，比如经济现代化、民族主义、国际关系等，她的安那其女权主义则对任何有助于社会等级制度的国家主义理论持深刻的怀疑立场。 但这只是何殷震庞杂且丰富的理论体系的一部分。她被一些学者认为是“那个时代出现的最彻底的女权主义理论家”，“她在回应和发展同时代的由男性倡导的女权主义的过程中，提出了至今无人企及的激进的和全面的批判方法。” 尽管有这些非常激进、好似“天外之音”的批判，但更多时候，何殷震还是作为中国著名安那其主义者刘师培的妻子，以及相关八卦轶事的主角进入公众视野。同时，她作为女性书写者和思想家的身份也常被质疑——一些传言称其文章为刘师培代笔。随着刘师培的离世，或疯或死或出家的刻板叙事，成为何殷震在历史上留下的最后痕迹。 - 主持 - 肖鼠 - 嘉宾 - 李亚姣：日本学术振兴会外国人特别研究员（东京大学） - 时间轴 - 02:31 何殷震的生平 04:47 女界革命是什么？ 08:55 《天义报》与女子复权会 12:23 刘师培“代笔”争议 17:32 何殷震的思想：从男女有别到男女阶级 22:03 何的思想对研究中国女性土地权益的启发 26:33 为什么何殷震能突破国族话语，构建安那其框架下的女权主义 32:16 东京对于当时中国的安那其主义者，是一个中转和接收站 33:34 20世纪初的日本的安那其主义女权与伊藤野枝 40:07 被边缘化的何殷震：从倡导“女子复仇”转向“自由恋爱”的《天义报》 43:24 何殷震对男性女权主义者的批判 50:17 大节有亏？私生活放荡？被“红颜祸水”的何殷震 55:22 或疯或死或出家？何殷震消失的故事建构 - 延伸阅读 - 《一个现代思想的先声：论何殷震对跨国女权主义理论的贡献》，刘禾 瑞贝卡·卡尔 高彦颐著，陈燕谷译 《“西洋镜”里的中国与妇女》，宋少鹏 《何殷震的“女界革命”*——无政府主义的妇女解放理论》，宋少鹏 《晚清女性与近代中国》，夏晓虹 《一个被遗忘的晚清思想家和一本被遗忘的杂志》，程衍樑 The Birth of Chinese Feminism， Lydia H. Liu, Rebecca E. Karl, and Dorothy Ko. 何殷震的一些主张： “女性”作为一个超历史的普遍范畴并不是一种主观认同而是结构性的不平等的社会关系。何殷震并没有严格区分过去的（19世纪以前）中华帝国和现在这个愈趋全球一体化的帝国主义—资本主义世界。相反，她认为过去与现在都在不断地制造和产生不公正。不公正的历史性并不仅仅是男性加害于女性（换言之，过去与现在并不是单单让女性成为受害者）；相反，历史的形成无非是（如法国年鉴学派所谓）长时段的方式持续不断地再生产不公正，以及财富与权利的不平等，其具体表现形式可以通过“女性”的范畴集中体现出来。 《女子复仇论》这一充满挑衅的篇名下，何殷震开篇明义，当今世界一切压迫机制都由男子掌控和垄断，所以男子是女子之大敌，但“女子之所争，仅以至公为止境，不必念往昔男子之仇，而使男子受治于女子下也”。女权之目的并不是成为男权的复制品，女权只是通往“至公”社会的手段，何殷震是在手段意义上支持女权、践行女权。 男女有别是中国社会生活和政治生活组织中最基本的物质的和形而上的权力机制。这首先是一个政治范畴，然后才是社会范畴，因为男女有别是关于人对人的统治，其作用不仅仅创造社会身份，而更是在区隔范畴的基础上创造权力与统治的形式。这样的支配和统治形式是必须进行内（家庭事务）与外（公共事务）的划分，并通过社会生活的复制而代代相传，内外之别藉此组织人类的劳动和情感生活并决定它们的价值。正如何殷震反复论证的，汉字“奴”是由“女”字繁衍派生而来的，说明一个生命早在被性别化之前，就已经在政治—物质的话语牢笼里被“女化”了，从而被“奴化”了。 女界革命：“欲破社会固有之阶级，必自破男女阶级始”。对于何殷震而言，“女界革命”不仅与“经济革命 ”有不可分割的表里关系，“男女革命也是与种族革命 、政治革命等诸革命并行的革命 。 生计与劳动：只有当女子重申她们从事劳动的身体乃是基本的人类劳动的本体，全人类才能从财富和权力造成的劳动被工具化状态中解放出来。这就是她所说的生计问题，生计的保障不仅是女性的而且是全人类解放的必要条件。因此对于何殷震来说，关键的问题是要探讨在漫长的中国以及世界历史中，女性身体的商品化如何破坏了重新想象未来劳动成为真正自由和自主的人类活动的可能性。可是，随着纺织厂在全球扩张和大规模集体雇佣劳动的到来，自主性劳动遭到了致命的一击，何殷震发现，取代商品化劳动的可能性离我们越来越远。 - 制作团队 - 节目编辑：肖鼠 制作人：晓雨 声音设计：邵旻 节目运营：米粒 封面设计：Jessi 特别感谢：静媛、晓曼 - 本节目由 JustPod 出品 ©2022 上海斛律网络科技有限公司 - - 互动方式 - 商务合作：ad@justpod.fm 微博：@JustPod @播客一下 微信公众号：JustPod / 播客一下 小红书：三姑六婆Badass Women / JustPod气氛组 互动邮箱：contact@justpod.fm

Professors Lydia Liu, Rebecca Karl and Dorothy Ko examine the origins of feminism in contemporary China through translations of He-Yin Zhen, a feminist theorist during China’s Republican Era. This talk is moderated by Professors Ellen Rooney and Ellen Widmer. Listen to more public events from Harvard's Fairbank Center for Chinese Studies on our Soundcloud page.

Dorothy Ko‘s new book is a must-read. Troubling the hierarchy of head over hands and the propensity to denigrate craftsmen in Chinese history, The Social Life of Inkstones: Artisans and Scholars in Early Qing China (University of Washington Press, 2017) explores the place of inkstones in the early Qing political project in a story that places ink-grinding stones and their craftspersons at the center. Ko’s book takes us to a series of places, in each case opening out into a beautifully written and careful analysis of text and material. We begin in the Imperial Workshops in the Forbidden City, for a peek into the imperial workshop system and the bondservants who were crucial to it. As Ko helps us to understand, that system is emblematic of a new Qing ruling style that can only be called materialist. Next, we move to the Duan quarries in Guangdong, where Ko explores the work and world of stonecutters and physical, literate, and visual knowledge-making therein. Next we join Ko in the commercial inkstone-carving workshops in Suzhou for a careful study of one of the central figures in the book and one who will be with us for the remainder of the story, Gu Erniang (fl. 1700-1722), one of the most accomplished inkstone makers of her day. The chapter takes us through the stages through which she practiced her crafts, from commissioning of the inkstone to carving (including attention to what she did not carve, including words), to understanding her signature marks. We move from here to follow Gu as a super-brand into the world of commercial inkstone-carving beyond Suzhou, and finally to collectors homes in Fujian. It is a masterful study that is equally sensitive to objects and texts as historical documents. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dorothy Ko‘s new book is a must-read. Troubling the hierarchy of head over hands and the propensity to denigrate craftsmen in Chinese history, The Social Life of Inkstones: Artisans and Scholars in Early Qing China (University of Washington Press, 2017) explores the place of inkstones in the early Qing political project in a story that places ink-grinding stones and their craftspersons at the center. Ko’s book takes us to a series of places, in each case opening out into a beautifully written and careful analysis of text and material. We begin in the Imperial Workshops in the Forbidden City, for a peek into the imperial workshop system and the bondservants who were crucial to it. As Ko helps us to understand, that system is emblematic of a new Qing ruling style that can only be called materialist. Next, we move to the Duan quarries in Guangdong, where Ko explores the work and world of stonecutters and physical, literate, and visual knowledge-making therein. Next we join Ko in the commercial inkstone-carving workshops in Suzhou for a careful study of one of the central figures in the book and one who will be with us for the remainder of the story, Gu Erniang (fl. 1700-1722), one of the most accomplished inkstone makers of her day. The chapter takes us through the stages through which she practiced her crafts, from commissioning of the inkstone to carving (including attention to what she did not carve, including words), to understanding her signature marks. We move from here to follow Gu as a super-brand into the world of commercial inkstone-carving beyond Suzhou, and finally to collectors homes in Fujian. It is a masterful study that is equally sensitive to objects and texts as historical documents. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dorothy Ko‘s new book is a must-read. Troubling the hierarchy of head over hands and the propensity to denigrate craftsmen in Chinese history, The Social Life of Inkstones: Artisans and Scholars in Early Qing China (University of Washington Press, 2017) explores the place of inkstones in the early Qing political... Learn more about your ad choices. Visit megaphone.fm/adchoices

Dorothy Ko‘s new book is a must-read. Troubling the hierarchy of head over hands and the propensity to denigrate craftsmen in Chinese history, The Social Life of Inkstones: Artisans and Scholars in Early Qing China (University of Washington Press, 2017) explores the place of inkstones in the early Qing political project in a story that places ink-grinding stones and their craftspersons at the center. Ko’s book takes us to a series of places, in each case opening out into a beautifully written and careful analysis of text and material. We begin in the Imperial Workshops in the Forbidden City, for a peek into the imperial workshop system and the bondservants who were crucial to it. As Ko helps us to understand, that system is emblematic of a new Qing ruling style that can only be called materialist. Next, we move to the Duan quarries in Guangdong, where Ko explores the work and world of stonecutters and physical, literate, and visual knowledge-making therein. Next we join Ko in the commercial inkstone-carving workshops in Suzhou for a careful study of one of the central figures in the book and one who will be with us for the remainder of the story, Gu Erniang (fl. 1700-1722), one of the most accomplished inkstone makers of her day. The chapter takes us through the stages through which she practiced her crafts, from commissioning of the inkstone to carving (including attention to what she did not carve, including words), to understanding her signature marks. We move from here to follow Gu as a super-brand into the world of commercial inkstone-carving beyond Suzhou, and finally to collectors homes in Fujian. It is a masterful study that is equally sensitive to objects and texts as historical documents. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dorothy Ko‘s new book is a must-read. Troubling the hierarchy of head over hands and the propensity to denigrate craftsmen in Chinese history, The Social Life of Inkstones: Artisans and Scholars in Early Qing China (University of Washington Press, 2017) explores the place of inkstones in the early Qing political project in a story that places ink-grinding stones and their craftspersons at the center. Ko’s book takes us to a series of places, in each case opening out into a beautifully written and careful analysis of text and material. We begin in the Imperial Workshops in the Forbidden City, for a peek into the imperial workshop system and the bondservants who were crucial to it. As Ko helps us to understand, that system is emblematic of a new Qing ruling style that can only be called materialist. Next, we move to the Duan quarries in Guangdong, where Ko explores the work and world of stonecutters and physical, literate, and visual knowledge-making therein. Next we join Ko in the commercial inkstone-carving workshops in Suzhou for a careful study of one of the central figures in the book and one who will be with us for the remainder of the story, Gu Erniang (fl. 1700-1722), one of the most accomplished inkstone makers of her day. The chapter takes us through the stages through which she practiced her crafts, from commissioning of the inkstone to carving (including attention to what she did not carve, including words), to understanding her signature marks. We move from here to follow Gu as a super-brand into the world of commercial inkstone-carving beyond Suzhou, and finally to collectors homes in Fujian. It is a masterful study that is equally sensitive to objects and texts as historical documents. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dorothy Ko‘s new book is a must-read. Troubling the hierarchy of head over hands and the propensity to denigrate craftsmen in Chinese history, The Social Life of Inkstones: Artisans and Scholars in Early Qing China (University of Washington Press, 2017) explores the place of inkstones in the early Qing political... Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies