負責人：林富士、李貞德
時間：1999/6/11-12
單位：中研院史語所生命醫療史研究室
緣起
人類照顧健康、保衛生命的歷史文化，實乃生命醫療史研究之重點。歷來學者對於疾病及其治療技術（醫學）之探討不虞匱乏，然而對於人們如何認定身體之健康狀況，並加以保護，則有待更深入的研究。健康的標準因時空文化而異，並且和人們對自己身體的其他期望互相影響，其中最明顯的就是美麗的慾望。現代社會雖然以健康即是美為主流思潮，健美觀念卻非向來如一、普世適用。病態美的觀念和十九世紀的肺結核共生並存，而對小腳美的需求則可能導致對健康的另類看法。健與美糾結互動的歷史實乃呈現了人類對待身體、生命錯綜複雜的心理。本所自一九九二年成立「疾病、醫療與文化」研討小組以來，每年至少舉行十場月會，其中不乏涉及性別與身體文化的議題，惜參與學者多因時間限制未能暢所欲言。
有鑑於此，本研究室將於今年六月十一日至十二日舉辦「健與美的歷史研討會」，探討古今中外各種社會文化所建構關於身體健美（乃至衰陋）的看法，尤其著重以醫學（或健康）之名規範審美觀念，以及因美麗的慾望而發展出特殊的健康標準。參與學者將利用與醫療、宗教、軍事、美術、商業活動等領域相關的資料，從各種角度探討此一議題。
（欲檢視論文全文，請下載Adobe Acrobat Reader閱讀）
六月十一日
08:50─09:10 報到
09:10─09:40 開幕式
主持：林富士（中央研究院歷史語言研究所副研究員）
致詞：杜正勝（中央研究院院士、中央研究院歷史語言研究所研究員兼所長）
09:40─10:00 休息
10:00─12:30
第一場：從美容到瘦身：減肥、健美與醫療
主持人：杜正勝（中央研究院歷史語言研究所所長）
主講人：祝平一（中央研究院歷史語言研究所助研究員）
講題：女體與廣告：台灣塑身美容廣告史中的科學主義與女性美
評論人：吳嘉苓（臺灣大學社會系助理教授）
中國美容史初探之一：塑身美容廣告中的科學與女體
Shape My Body:The Representations of Femininity and Science in the Advertisements
for Body Sculpturing Beauty Salons
本文主旨在比較二十世紀初期、日治時代相關的美容廣告，以呈顯近十年來塑身美容廣告之所以可能，是世紀末台灣史各種特殊論述的組合所造成的。一方面科學權威的挪用、使用、利用各式和各樣的儀器，增強其廣告的說服力。另方面，近來年情慾解放與女性主體的論述，使得塑身美容廣告與其他將女人物質化的廣告不同。然而在資本主義的消費社會下，即使是塑身美容廣告所創下的女性主體／身體終將為資本邏輯所吞噬，而幻化為遙不可及的慾望，就好像阿拉丁神燈中的精靈，可以有種種靈力，卻沒了身體。
This paper discusses how gender and science are represented in the advertisements of a newly emerging industry called shuoshen meirong gongsi 塑身美容公司 (body sculpturing beauty salons). Unlike traditional fat reducing business for women, this new industry emphasizes not only reducing body fat, but also creating a standard and attractive female body which acts as a decoy in heterosexual social life. To achieve this goal, “scientific instruments” as well as scientific authority are mobilized to establish the features of a standard female body and to enhance the effectiveness of body sculpturing.
This paper first compares the differences between the shuoshen meirong advertisements and traditional advertisements that treat the female body as an object. It then examines how female subjectivity is shaped in this kind of advertisements via an appropriation of feminism, emphasizing women as active social agents. The authority of science is then grafted on to various cosmetic practices which transform women into the Subject while turning them into an object of heterosexual desire. The authority of modern science and technology underpins the practices of shuoshen meirong and models the body of Taiwanese women into one standard in a consuming society which consumes not only objects but also the Subject.
主講人：林淑蓉（清華大學人類學研究所副教授）
講題：性別、身體與慾望：從瘦身美容談當代台灣女性形象的轉換
評論人：王明珂（中央研究院歷史語言研究所研究員）
九零年代的臺灣受到身體美容工業（包括妝扮、服飾、減肥及手術美容等）的強勢襲擊，如何追求一個完美的、纖瘦的身體已成為當代婦女日常生活中鷺可或缺的一環。本文將以人類學的觀點，從傳統農村社區與減肥中心之研究來探討以下幾個問題：
（１）臺灣人的身體美學概念如何從傳統的以健康、工作、生育為主的審美標準轉變成現今以強調苗條的、纖瘦的、完美的身體概念。
（２）減肥中心與瘦身美容工業所傳遞的身體美學訊息如何影響臺灣人的日常生活實踐。
（３）從肥胖者參與減肥中心的身體經驗以理解身體、自我與慾望之關係。我所說的慾望，它代表著追求完美身體的慾望與經由身體所傳達的性與消費的慾望。
在前述幾個問題的討論中，我將關注性別與身體論述、身體經驗之關係。我認為性別化的身體論述與身體經驗，不但受到該社會、文化的性別邏輯與性別的社會結構所形塑，而且更受制於由這種文化邏輯所生產的性別政治所壟斷與宰制。因此瘦身美容工業，一方面強化了傳統兩性身體差異的分野，另一方面重新建構與轉化當代臺灣人的身體成為一個以性與消費慾望為訴求重要的後現代身體。
本文將嚐試分析佛教戒律文學中如何陳述美麗的概念（the norm of being beauty）以及其宗教意涵，來討論佛教的身體觀和教團中女性性別角色的建構。全文主要分成三部分。首先介紹戒律文學中男女美色的範疇，以比較男女性別角色的異同。接著從修行和貞操的角度，分析為何教團中的男女美色為情慾追逐的對象。最後則就教團對性與性別的描述與控制，來探討教團中去性別化的機制。筆者的主題在呈現宗教上美麗與美色的劃分，經常是一體兩面。身體既然同時兼具象徵性和工具性，在以身體具體化某些宗教特質的過程中，追求和抗拒美麗，將交織構成宗教實踐的主體經驗。這種複雜性，特別呈現在「女性」（being women）這個性別範疇上。
主講人：陳端容（臺灣大學公衛學院醫管所助理教授）
講題：瘦身美容與社會網絡：以台灣婦女自服美容或減肥產品為例
評論人：游鑑明（中央研究院近代史研究所助研究員）
臺灣婦女自服美容或減肥藥物與社會網絡
Social Network and Non-prescription Pills-taking Behaviors among
Women in Taiwan: A Study on Pills for Cosmetic purpose
本研究的目的在於探討臺灣地區婦女自服美容或減肥藥物的狀況，以及影響該行為的社會網絡因素。對人群關係的研究指出，個人的社會行為摸式往往受其所處之社會網絡的影響，社會網絡的成員往往是個人行為或態度判準的最主要參考來源。本研究嘗試探討婦女如何取得有關美容或減肥藥物資訊？從什麼樣的管道取得這些藥物？婦女是否透過其親密社會關係網絡，取得有關美容或減肥藥物的訊息，並透過與其社會網絡成員的訊息交換，降低其對使用藥物的不確定感，從而增加其使用藥物的可能性。本研究透過面對面的問卷調查，收集713名婦女有關自服美容或減肥藥物的資料與其社會網絡的狀況，嘗試瞭解婦女使用美容或減肥藥物的種類、多寡、時間長短、使用頻率，以及婦女是經由那一類的社會關係取得有關藥物的資訊或藥物本身？傳播藥物訊息的社會關係具有那些特質？最後本研究將討論婦女社會網絡的特質，以及其婦女自服美容或減肥藥物的關係。
12:30─13:30 午餐
13:30─15:10
第二場：女體之為用：生育與戰爭
主持人：梁其姿（中央研究院中山人文社會科學研究所研究員兼副所長）
主講人：吳一立（美國密西根Albion College歷史系助理教授）
講題：傳統中國醫學思想中的鬼胎
評論人：張哲嘉（中央研究院近代史研究所助研究員）
Medicalizing the monstrous:Blood, gender, and “ghost fetuses(guitai)” in traditional Chinese medical texts
This paper analyzes the concept of “ghost fetus” (guitai) in traditional Chinese medical texts and argues that it provides productive insights into Chinese medical conceptions of normality, monstrosity, and gender differences in illness and healing. In recent decades, historians of medicine have focused their attention on how culture “frames” disease. What medical and social meanings do people assign to different bodily states? When and why is a certain physical condition defined as pathological? What are the strategies used to define and manage illness? The relevance of such questions extends far beyond the medical realm, since they touch on broader intellectual and social norms. For example, in order to fully understand medical responses to illness and healing, one must also understand how a society conceptualizes the relationship between humans and their environment, and between an individual and the cosmos. Thus, a society which explains AIDS as a punishment from God will respond very differently from one which sees it as a viral infection. In the mix of cultural factors which frame disease, furthermore, constructions of gender difference are critically important.
The concept of guitai is a useful tool for examining these issues in traditional Chinese medicine. The basic definition of guitai is a pregnancy which results when a woman’s body is invaded by demonic or ghostly forces. Instead of giving birth to a human child, however, the woman produces misshapen bloody lumps or noxious creatures, often described as “worms” or “snakes”. As one deconstructs this deceptively simples concept, one finds that it touches on a number of important issues in traditional Chinese medical conceptions of disease and gender. The concept of guitai touches on the very foundation of human life– sexual reproduction, fetal gestation, and birth– and is therefore also concerned with women’s key role in reproduction. Traditional Chinese medical literature has long been concerned with teaching women how to behave in order to conceive and produce healthy children. While existing scholarly studies have analyzed these prescriptive norms, many of the individual ailments seen as specific to women have not yet been explored in depth. A discussion of guitai, therefore, can provide useful insights into how chinese medicine gendered disease. At the same time, the elite Chinese medical tradition represented in the textual sources was constantly competing with folks and popular ideas about women’s bodies and acceptable female behavior. The concept of guitai can thus also serve as a case study of how elite scholars tried to “medicalize” popular notions of ghostly invasion by by subsuming it into a discourse on internal harmony or imbalance.
This paper will examine the concept of guitai from three interrelated angles. First, it will examine how the concept of guitai draws on different traditional Chinese disease categories, especially those that pertain to external agents invading or infesting the human body. As Li Jianmin has pointed out, guitai can be considered a form of “possession illness” (suibing) where ghostly or demonic influences invade a person’s body. Li shows that “locationality” is an important factor in the onset of such diseases: a person can become ill if he or she goes to a place where supernatural forces congregate. At the same time, however, guitai also constitutes what scholars of medical folklore call a case of “animal-in-body”. Such ailments are caused and characterized by the presence of wormlike creatures of other foreign life forms in the body. At the most mundave level, “animal-in-body” illnesses arise when creatures enter the human body through ingestion of contaminated food or through a bodily aperture. Such infestations can also arise, however, as a result of a curse or spell cast by another person. A full understanding of guitai, therefore, must also include an analysis of traditional Chinese conceptions of parasites and general infestations of “worms” and “insects” (chong).
The second part of the paper will analyze the ways in which guitai constituted a gendered illness linked to traditional medical concepts of the female body. As Charlotte Furth has shown, classical Chinese medicine saw the free flow of Blood (xue) as a key factor in women’s health and fertility. This section will argue that concerns about guitai went beyond simple fears about abnormal pregnancies: on the most fundamental level, guitai represented a perversion of women’s reproductive essences in which Blood was diverted from its normal functions and channeled into the generation of foreign life forms inside the woman’s body. This fear that Blood could be misdirected was related to the perceived relationship between female blood and ritual pollution, as well as to general association between blood and possession-illnesses. Recorded cases of gu poisoning, for example, often describe the patient being purged of bloody substances prior to being cured.
Finally, the paper will analyze how traditional medical writes sought to shift popular understandings of guitai from the supernatural realm to the medical realm. Writes such as Zhang Jiebin argued guitai had nothing to do with spirits and ghosts, and everything to do with lack of internal regulation. At the same time, these discussions of guitai reveal elite anxieties about female behavior and sexuality. Women might conceive guitai after travelling to places outside the home, expecially temples. Immiderate female emotions or misdirected erotic disires could also cause internal blockages. Regardless of their opinions as the cause of guitai, therefore, male medical authors sought to regulate female health by regulating female behavior.
主講人：蔣竹山（清華大學歷史研究所博士班）
講題：女體與戰爭──以明清厭炮之術「陰門陣」為例的探討
評論人：李建民（中央研究院歷史語言研究所助研究員）
女性、身體與戰爭──明清厭炮之術「陰門陣」的探討
Women, Bodies and War — Confronting Cannons with Naked Women in Ming-Ching
本文嘗試透過陰門陣的例子，從文化史角度探討其中所隱含的女性（women）、身體（body）與魔力（magic）關係。第二節主要介紹陰門陣厭砲的例子。第三節則從不潔（pollution）與魔力關係的角度，嘗試了解明清戰爭中，女性的身體何以會被視為具有厭勝的能力，甚至成為男性畏懼的對象。餘論則進一步檢視 Mary Douglas 「污穢理論（pollution theory）」基本概念的應用性。
據本文的探討，陰門陣可綜合出以下幾項特色：
- 就目前資料所見，陰門陣自明末以來才出現，這可能與當時火炮技術的改良並普遍用於戰事，以及官民雙方武力過於懸殊有關。
- 目前所見，陰門陣只用於軍事上，它不僅可厭敵人之槍炮，亦可在當對方使用咒術時，使己方炮彈順利發出。
- 厭勝之物為女性裸露的身體，且特別強調「女陰」部份。
- 這些女性大多是已婚、孕婦或社會地位較低者，如妓女。
- 剋制陰門陣的方法有灑黑狗血、雞血、 糞汁、燒羊角煙、懸掛便器、剃士兵下體毛，以及裸露十五歲以上男子及和尚陽具來厭陰門陣的「陽門陣」。
總的來說，義和團運動時，裸婦被視為保護洋人火砲，破除團民法術的主角，雖與明末以陰門陣的厭勝對象不同，但兩者背後的隱含觀念如山一轍，都認為裸體女性的污穢身體具有魔力。義和團的這種視女性身體污穢／不潔的觀念正可解釋何以在明末以來的戰爭，會出現用裸婦來厭砲的陰門陣現象。
15:10─15:30 休息
15:30─17:10
第三場：影像、感官、健與美
主持人：黃寬重（中央研究院歷史語言研究所研究員兼副所長）
主講人：鈴木則子（甲南女子大學講師）
講題：江戶時期日本的鏡子與美人
評論人：盧建榮（中央研究院歷史語言研究所副研究員）
Reflection Beauty: Mirror and Beauties in Edo Japan
Ukiyoe painters often drew beauties putting on makeup in front of mirrors. The beauties sometimes turn their backs to us, and we see their faces in round mirrors. What did they watch in their mirrors? Did they watch themselves as they really were? They probably sought the looks as they should be, when they sat down in front of the mirrors and had cosmetics in their hands. What did it mean to be “good looking”? What did they want to appear as by using makeup?
In my paper, I will clarify the transition of the ideal beauties in the Edo period through the women’s acts such as makeup, dressing up, care of the body, diet, and so on. Afterwards, I will argue that the characteristic sexual practices and gender ideals in Edo society forced women to become artificial and unhealthy beauties.
主講人：王正華（臺灣師範大學藝術史研究所助理教授）
講題：女人、物品與感官慾望：陳洪綬晚期人物畫中江南文化的呈現
評論人：王鴻泰（臺灣大學歷史研究所博士）
女人、物品與感官慾望：陳洪綬晚期人物畫中江南文化的呈現
The Representation of Womanhood in Chen Hongshou’s Figure Painting and the Culture of Connoisseurship in Late-Ming China
本文主旨在於討論晚明時期的人物畫如何呈現女性，以及此種呈現涉及的女性性質、美感等議題的文化史脈絡。主要討論的作品多山自陳洪綬之手，陳為當時最著名的人物畫家，流傳作品質量豐富；而且個人有詩文集傳世，來往的友人或贊助者多為江南地區有名的文人，因此畫作的製作因由及流通情形較為清晰，可框限出人與畫具體的關係網絡，並從而探究晚明江南文人如何定義「女性」及品評、消費女性的形象。
陳洪綬畫作（包括繪畫及版畫）中的女性有幾點特色：1. 雖然如傳統的仕女畫般，也畫妓女，但是多為閨秀小姐與侍女，2. 畫中女性的肢體語言特別多，也比較誇張，或躺或坐或立，或執扇，或手握拂尾，或捧花等，皆非傳統習見之姿，強調畫中女性對身體細膩的感覺，3. 與前一點相關的是，陳洪綬畫中的女性傳達出女性的慾望，如百無聊賴、斜倚煙籠的富家少婦。而這種慾望的傳達，除了姿勢的特別外，還藉著畫中的各式物品來表現一種相思的氣氛及細緻的感官效果。
經由上述畫作形式的分析，我們或可探究：既然陳洪綬女性圖像的消費者多為男性，畫中女性人物形象、肢體語言及所處氛圍的轉變或許顯示出男性觀賞女性的角度或男性慾望投射的女人典型有所改變。本文的切入點為晚明江南士人盛行的物品賞玩文化；賞玩本為慾望、癖好的投射，也促使感官美學愈加精緻化。賞玩對象可為古物、奇花、奇石等，也可為有女性出現的人物畫。在此種文化氣氛中，可被欲求的「女性」為何，而女性性質及美感又是如何被建構，皆值得思考。
This paper attempts to investigate how some late-Ming figure paintings represent women and their qualities and how these qualities of womanhood represent the culture of connoisseurship of that time. The focused objects are a group of paintings and woodblock prints by Chen Hongshou, the most famous figure painters in late-Ming China. These works exhibit intriguing designs in composition and female image which seem to connote multi-leveled messages worthy of further research. In addition, Chen and his friends, some of whom were also his patrons, were members of one literati society active in the area of Jiangnan. Through studying the collected writings of Chen and his friends, we can partly reconstruct the context in which Chen’s figure paintings were purchased, seen, and used. This context enables us to ask questions about how late-Ming literati of Jiangnan defined womanhood, evaluated female beauty, and consumed female image.
The female figures seen in Chen’s painting demonstrate three formal characteristics which deserve our attention. First of all, traditionally, the image of courtesans dominated the genre of Chinese female-figure painting. Even though Chen paints courtesans as well, most of his figure paintings depict gentry ladies and their maids. Secondly, Chen’s female figures show unusually rich gestures, some of which are dramatic and close to staged performance. These gestures convey the sense that women in his works are conscious of their own body and sensual feelings. Thirdly, related to the second point some of Chen’s female figures are characterized by desire not only through their gestures, but through the display of various objects loaded with cultural significance. These sensual gestures and symbolic objects produce an ambience of love sickness and refined sensuality unseen in previous figure painting.
Since the main consumers of Chen’s female figures were men, the changes describe above, including female image of gentry ladies, richly physical gestures, and the ambience of love and sensuality, perhaps suggest that late-Ming literati of Jiangnan cultivated a special taste for women and womanhood. These changes also seem to indicate that women, as the object of men’s gaze and desire, could not avoid being constructed into an abstract category of “womanhood”. To answer thesequestions, I start with the late-Ming culture of connoisseurship which involves collecting and evaluating objects and writing about objects. The activities of connoisseurship was the projection of literati’s desire for control, distinction, and sensual refinement. The objects of their desire could be antiques, beautiful flowers,strange rocks, and women represented in figure painting as well. In this cultural ambience, it is interesting to know what literati of late-Ming Jiangnan desired from female figures in painting and women in reality. Treating women as objects for sensual refinement, these literati constructed and promulgated new qualities for the category of womanhood, especially in their production and consumption of female figures in painting.
六月十二日（星期六）
09:00─10:40
第四場：男性身體的醫療與文化
主持人：蒲慕州（中央研究院歷史語言研究所研究員）
主講人：鈴木晃仁（慶應義塾大學助教授）
講題：十八至十九世紀初期英國的男性美與肺結核
評論人：楊肅獻（臺灣大學歷史系副教授）
Narcissistic Invalid or Heroic Genius? Typologies of Male Beauty and Consumption in England in the Eighteenth- and early Nineteenth-Centuries
This paper attempts to investigate the representations of tuberculosis in England in the eighteenth- and early nineteenth-centuries. In so doing, I will examine two relatively underdeveloped themes in the historiography of consumption, namely the role of the eighteenth century in the development of the disease metaphors, and the creation of specifically male image of beautiful consumption.
In the earlier half of the nineteenth century, the disease called $B!H(Bconsumption$B!I(B emerged as a focal point of powerful and diverse cultural metaphors. While you have to think hard to name a well-known
consumptive before 1800, whether real or fictional, the nineteenth century abounds with mega-icons in the Western culture who died of consumption: it is difficult to miss John Keats and La Traviata. Manifold aspects of $B!H(Bconsumption and its metaphors$B!I(B have been analyzed in Susan Sontag$B!G(Bs now classical book, whose major materials come from the nineteenth and the early twentieth century. This does not mean, however, that the metaphors of consumption were suddenly forged with the advent of Romanticism. English patients suffering from consumption / phthisis had been sent to the South of France and Italy for a warm climate since the early eighteenth century and perhaps much earlier. Often combined with tours of Europe and visits to galleries and historical sites, this form of treatment developed a distinct association with the upper-class search for leisure and culture. From the mid- and late-eighteenth century, physicians and medical writers started to exploit the lucrative market by inventing a new genre of advice literature for consumptive patients, suggesting various resorts in Southern France and Italy and depicting their merits and attractions. (Tobias Smollett$B!G(Bs Travels through France and Italy was regarded as one of the earliest and the most successful specimens of this genre of writing.) I shall argue that those works consolidated the narcissistic image of beautiful consumption entertained by wealthy and genteel patients from the early eighteenth-century.
My second point is about the development of the gender-charged representation of the disease. In the eighteenth-century, the metaphors of consumption were expressed in the language of class distinction, rather than that of gender. (Hence among early nineteenth-century literary figures, there existed a great confusion in how to interpret the death of Keats, who came from lower social origin and died young of consumption.) It was not until Thomas Carlyle$B!G(Bs lives of Schiller and Novalis, published and widely read in the 1820s (works which have been largely neglected in the historical studies of consumption), that the representation of the disease was polarized into masculine and feminine ones, or, to put it more precisely, an explicitly masculine beauty was found in certain types of consumptive patients. Contrasting Novalis and Schiller, both of whom died of consumption, Carlyle introduced the framework of polarized gender in the metaphors of the disease. I shall analyze this masculinization of certain types of consumption, putting it in the context of gender ideology in England in the early nineteenth century.
主講人：成令方、傅大為（輔仁大學社會系助理教授、清華大學歷史研究所教授）
講題：初論台灣泌尿科的「男性身體觀」（全文）
評論人：張玨（臺灣大學公共衛生研究所副教授）
關於台灣男性的身體 (s)、身體意識、身體觀等，自然有很多的社會力量在角逐其發言權的位置。在這些社會力量中，一個積極而有充分自我意識的群體、同時也在經營與掌握「知識與醫學」的宣稱，就是台灣的泌尿科學界及其醫生們了。特別是近十多年來，台灣的泌尿科醫師們，風塵僕僕的在各種社會領域中（醫院病房、醫學研究、報章、電視、八卦、笑話、大眾演講等等），不斷的努力經營，如今可說是成績斐然。本文企圖從幾個面向去探討與評論這個泌尿科的「男性身體觀」：西方泌尿科當代史、台灣近年來的文本資料、泌尿科醫師口述訪談、還有近來「威而剛 (viagra)」的知識現象與社會回響。
這是一個初步的討論，我們比較侷限在近十年的情況，還不是對台灣泌尿科社會意識型態的一個全面戰後歷史的考察。我們所使用的討論觀點，大致上是從女性主義「醫療與性／別」、傅科「知識／權力／規訓」等觀點發展而來。
10:40─11:00 休息
11:00─12:40
第五場：美色與禁忌
主持人：劉淑芬（中央研究院歷史語言研究所研究員）
主講人：李玉珍（康乃爾大學東亞系博士候選人）
講題：美麗的慾望：佛教文學中的男女美色
評論人：柯嘉豪（中央研究院歷史語言研究所助研究員）
美麗的慾望：佛教（戒律）文學中的男女美色
Desiring for Beauty:the Representation of Sexual Beauty in the Buddhist Literature
佛教戒律文學中罕有醜陋的女子。不論前來誘惑佛陀，阻止他成道的魔女，阿娜多姿；歷經人世波折，終而幡然悔悟出家求道的蓮花色尼，也是美麗絕倫。她們的美麗是因也是果，以一世來證悟輪迴中的一瞬心念動靜。所以賤婢藉施捨功德轉生王女，由嫌惡醜僧導致生成醜女；王女又因虔信懺悔，一夕變成美女。而美麗多情的女子，則因迷戀年輕僧侶，沈倫墮生為蛇類。這些戒律文學中的故事，或許未曾出現在佛教辯論經典的正式場合中，卻不斷的藉由壁畫、寶卷、說唱文學、戲劇，一再向婦女們陳述。還有一群很重要卻常被遺忘的聽眾──教團中的僧眾和尼眾──也可能藉由這些故事來認識女子的美麗／醜陋與情慾／昇華。
就捨棄俗世的牽絆和維持教團的清淨原則之下，佛教戒律文學相當程度地反映原始佛教對身體（色相）的排斥和壓抑。這樣以男性為主體的修行機制，尤其傾向異化女性的身體，將女性的各種生理與心理特質簡化為慾念的化身。換句話說，佛教戒律文學所呈現的美麗與醜陋的男女形象，已經不僅僅是對身體的分類，而更蘊含一套定位（orientation）和再生產（reproduction）性別角色的複雜過程。以往學者研究佛教文學中的身體觀，推論經典中多以男性生理特徵做為聖人的身體表徵，影響所致，女性甚至被剝奪成佛的可能性，但是鮮少論及其間經典論述（textual discription）與性別認同（gender identity）互動之機制。戒律這樣直接規範女性修行者身體行為的資料，或許能有助於我們了解佛教身體觀建構性別角色的關係。
本文將嚐試分析佛教戒律文學中如何陳述美麗的概念（the norm of being beauty）以及其宗教意涵，來討論佛教的身體觀和教團中女性性別角色的建構。全文主要分成三部分。首先介紹戒律文學中男女美色的範疇，以比較男女性別角色的異同。接著從修行和貞操的角度，分析為何教團中的男女美色為情慾追逐的對象。最後則就教團對性與性別的描述與控制，來探討教團中去性別化的機制。筆者的主題在呈現宗教上美麗與美色的劃分，經常是一體兩面。身體既然同時兼具象徵性和工具性，在以身體具體化某些宗教特質的過程中，追求和抗拒美麗，將交織構成宗教實踐的主體經驗。這種複雜性，特別呈現在「女性」（being women）這個性別範疇上。
主講人：李孝悌（中央研究院歷史語言研究所副研究員）
講題：十八世紀社會中的情慾與身體──禮教世界外的嘉年華會
評論人：彭小妍（中央研究院中國文哲研究所籌備處副研究員）
五四時期對民間文化、個性和情慾解放所抱持的正面態度，讓當時的學者、文人和知識分子重新去評價明清時期一些被目為淫蕩、猥瑣的出版品。這種典範和論述的改變，讓以前一些被看成醜陋、不健康和見不得天日情慾表述，一下子變得清純、樸實、自然而充滿了生命力。下階層，特別是下階層的婦女在情歌、戲曲選集中所顯現出的強旺的生命力，和毫不遮掩的洋溢熱情，成為取代疲軟、僵固和腐化的儒家傳統的活水源頭。
在這篇論文裡，我將首先對五四時期的新論述做一個回顧。然後我將對這些被重新「發現」的另類次文化自身進行解析。從這些下階層的民眾（特別是女性）對情慾和肢體的殘缺所採取的態度，我意圖呈現一個被「禮教論述」所掩埋，但卻從不曾消失過的、蕩漾著盎然情慾的世界。同時，我也要指出下階層的民眾，如何用一種坦然、戲謔的態度來面對人世間的諸多殘缺。我們將看到「愚夫愚婦」們如何在詭異的可笑的情境中，搬演一齣嘉年華會似的鬧劇。
12:40─13:40 午餐
13:40─15:20
第六場：另類健與美
主持人：黃進興（中央研究院歷史語言研究所研究員）
主講人：楊興梅、羅志田（四川大學歷史系助教、教授）
講題：近代中國人對女性小腳美的否定（全文）
評論人：林維紅（臺灣大學歷史系副教授）
今日女性研究中一個非常有趣的現象是，在女性主義已後現代化即形成所謂「後女性主義」的情形下，對女性觀察的重點本已更多落到軀體（body）之上，但對近代中國女性纏足現象和反纏足運動這一最能發揮軀體取向（Body approach）優勢的研究卻相當少，可以說基本忽視。為什麼？是否認為已「蓋棺論定」？（楊的研究說明過去一些固定認知其實是無根之談，具體的史實重建仍相當不足）不研究小腳這一現象或者提示著後女性主義者其實也還大受「現代」觀念的影響，故能基本接受被「現代化」了且主要是西來的近代中國「反纏足」觀念，而似尚未能真正做到後現代主義史學所主張的「返其舊心」去理解具體時空語境裡的昔人。
實際上，中國人視女性小腳為「美」大約有千年之久，只是在近代才突然逆轉，視小腳為「醜」；進入二十世紀後，越來越多的人認為欣賞小腳是一種受「病態」心理影響的「病態」行為，這樣的認知也基本上為今人所普遍接受。纏足這種以痛苦的人為方式改造女性軀體某一部位的行為──特別是在當事人並不一定自願的情形下實施──是否應受譴責不是本文所欲討論者，本文也不擬辯論對一種維持達千年之久的習俗用「病態」來概括是否適當（近代人當然是在非常寬泛的意義上較隨意地使用「病態」一詞，但一個民族集體患病一千年大概終不太說得通），而是想探索近代人究竟從何處得到敢於隨意否定前人千年的習俗這樣一種自信、他們怎樣表述這一否定、兼及這一否定所反映的時代文化蘊涵。
全文約分四節：
- 簡略探討前近代人對小腳美醜的認知；
- 近代中國讀書人怎樣否定既存的小腳美觀念（包括其思想資源、當下心態、及怎樣表述）；
- 近代中國老百姓對小腳美醜的認知（與讀書人比較）；
- 簡單的反思
主講人：陳元朋（臺灣大學歷史學研究所博士候選人）
講題：身體與花紋──傳統社會的文身習尚及其流變（全文）
評論人：陳弱水（中央研究院歷史語言研究所副研究員）
「黑道大哥靠邊站！紋身貼紙貼得你滿身流行！」這是1999年臺灣一份時尚報導的標題語。「紋身貼紙」，始風行於90年代初期的西歐，現今已成為本土「新新人類」彰顯自我意識的印記之一。不過，雖說是「貼」而不「紋」，但仿傚傳統紋身的意思卻不稍減，倘若去除「怕痛」與「費用」這兩項考量，時下青少年多半會成為傳統紋身的最大消費群。
世紀末臺灣社會對於「紋身」的評價已有所動搖，新添入的看法是「流行」、「時髦」、「好看」。然而，既是「動搖」，便不是全面的「顛覆」，傳統的負面評價依然存在。例如，「八十八年度中正國防幹部預備學校」的招生簡章，便有如下的條文：「有刺青者，依規定於報到二週內完成退訓，考生及其家長不得 提出任何要求。 」一所專門招收青少年的軍事學校，何以會有如此「背時」的規定？原因無它，蓋在軍方的眼裡，「刺青」是「黑道」強調豪勇的東西，那是「兄弟」的身份證，壯志凌雲的革命軍人又焉可有之？
「紋身」、「刺青」，在古典文獻裡又有「文身」、「鏤身」、「雕青」、「雕題」等名稱。值得注意的是，這種在身體上刻劃花紋、圖像的舉措，在傳統漢人社會中的曖眛處境一如今日。欣賞者固不乏其人，但絕大多數具有儒學素養的記述者，除了對「外族蠻夷」的相類舉措有較寬容的態度外，往往認為惟有「浮浪」、「遊手」、「閑漢」、「軍夫」之流，纔會在皮膚上刻意地搞些東西。事實上，古代知識份子之於「紋身」的負面觀感，也同樣展現在他們所經手的條規、律法之中。舉凡唐末五代以迄於兩宋兵士們的「黥印」，先秦以來行之不輟的「黥刑」，就再再可以見出古代政權藉「身體與花紋」之「負面」形象以為「人身控制」憑依的思考脈絡。
因循古代知識份子對於「文身」的載記，「身體與花紋」這個命題，或許是與本次研討會渺無相涉的。然而，若是從反向作思考，這個題目便能在旨趣上與「健美」相接榫。可供思索的路徑包括：在傳統社會裡，是那些人會在肌膚上雕鏤圖紋？這些人為何會無視於負面的評價而圖紋其身？各種圖案、紋樣的形式為何？它們是否有屬性上的差異？而其之於人身的意義又各為何？凡此數問，既涉及社會文化背景的探索，且關乎文身擁有者的心態揣度；更重要的是，其能在「身體、花紋」這個具象的認識，與「雄健、美感」這種抽象的概念間，搭起溝通的橋樑。
15:20─16:00【綜合討論】
引言人：杜正勝（中央研究院歷史語言研究所研究員兼所長）
林富士（中央研究院歷史語言研究所副研究員）
李貞德（中央研究院歷史語言研究所副研究員）
Symposium on the History of Health and Beauty
Institute of History and Philology, Academia Sinica, Taiwan
Time: June 11-12, 1999
Place: Institute of History and Philology, Academia Sinica, Nankang, Taipei, Taiwan
A. From Face Beautification to Body Sculpturing: Health, Beauty, and Medicine
1. Pingyi Chu (Institute of History and Philology, Academia Sinica, Taiwan)
Shape My Body: The Representations of Femininity and Science in the Advertisements for Body Sculpturing Beauty Salons
2. Su-jung Lin (Institute of Anthropology, National Tsing-hua University, Taiwan)
Gender, Body and Desire: Woman’s image and the changing body aesthetics in Taiwan
3. Duan-Rung Chen (College of Public Health, National Taiwan University)
Social Network and Non-prescription Pills-taking Behaviors among Women in Taiwan: A Study on Pills for Cosmetic Purpose
B. The Use of Female Body: Pregnancy and War
4. Yi-li Wu (Dept. of History, Albion College, Michigan, USA)
Medicalizing the Monstrous: Ghost Fetuses (guitai) in Traditional Chinese Medical Thought
5. Chushan Chiang (Dept. of History, National Tsing-hua University, Taiwan)
Women and War — Confronting Cannons with Naked Women in Ming-Ching China
C. Image, Sensation, Health and Beauty
6. Noriko Suzuki (Dept. of History, Konan Women’s University, Japan)
Reflecting Beauty: Mirror and Beauties in Edo Japan
7. Cheng-hua Wang (Institute of Fine Arts, National Taiwan Normal University)
The Representation of Womanhood in Chen Hongshou’s Figure Painting and the Culture of Connoisseurship in Late-Ming China
D. Male Body in Medical Culture
8. Akihito Suzuki (Keio University, Japan)
Narcissistic Invalid or Heroic Genius?: Typologies of Male Beauty and Consumption in England in the Eighteenth- and early Nineteenth-Centuries
9. Daiwie Fu (Institute of History, National Tsing-hua University, Taiwan), Ling-fang Cheng (Dept. of Sociology, Fujen Catholic University, Taiwan)
Urological Image of Male Body in Taiwan
F. Sexual Beauty and its Regulations
10. Yu-chen Li (Dept. of East Asian Studies, Cornell University, USA)
Desiring for Beauty: the Representation of Sexual Beauty in the Buddhist Literature
11. Hsiao-t‘i Li (Institute of History and Philology, Academia Sinica, Taiwan)
Body and Desire in Eighteenth Century China: A Carnival Outside the “Civilized World”
G. Health and Beauty: Alternative Views
12. Xinmei Yang & Zhitien Lo (Dept. of History, Sichuan University, China)
The Reject of Foodbinding and its Beauty in Modern China
13. Yuanpeng Chen (Dept. of History, National Taiwan University)
Tattooing the Body in Traditional China