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slavishly imitate the patterns.’ He continues to reference a recent article from the Canadian Annual Archaeological Report in 1904, stating, ‘The forger may have been guided by the ancient Canadian pendants; that man knows everything!’ 95 Later in the text, considering several carved figurines found at Dumbuck and Langbank, which resemble those ‘found in many sites from Japan to Troy, from Russia to the
indelibly shaped critical reception of the moment. 93 In his portrayal of a ‘mad night’ the performance of the poetic act inaugurates community, but here the conditions of success seem to involve an expressivist poetics enacted through a transgressive modulation of voice (‘howling’, ‘wailing’, ‘yelling’) and, of course, intoxication. Nothing in the scene approaches anything like a scholarly affectation. Interestingly, Gary Snyder, whose study of Japanese and Chinese poetry had just taken a more serious academic turn, did
Nineteenth-Century Archaeology: Nationalism, Colonialism, and the Past ( Oxford : Oxford University Press , 2007 ). Díaz-Andreu considers a wide range of regions in this section, including Ottoman territories, Greece, Russia, China, Japan, and Latin America. 48 Sam
-winning Snakes and Earrings by the Japanese writer Hitomi Kanehara (2003) , Annie, Peggy, Petrol, and Horny Nick, with ‘star-shaped horns implanted in his forehead’, ‘pointed ears, like an elf or a Vulcan’, split tongues, purple eyes, and black two-inch-long fingernails ( SHLV , 141), perform a different corporeality which hints at a borderline subculture that resists norms and categorisation by going beyond the limit of what we usually consider bodily human. Whilst the kids as well as Elvis, Abigail, and Black work on their
Chinese, Japanese, French etc. of the nineteenth and twentieth centuries. They provoked such an upheaval of artistic sentiment that time was killed by the extra-temporal and the extra-spatial. This new sentiment reigned supreme like an autonomous eternity … Paul Cézanne lived in the reign of Ramses II. The scribe Héavad Randai lived, worked and died in Aix-en-Provence. Precise historical information thereby informed the clarity of vision essential to a work of art, since the value and purpose of a work of art cannot be judged through the angle of time. The definition
; they journeyed to Rangoon in Burma, Valparaiso in Chile, Buenos Aires in Argentina, Yokohama in Japan and Callao in Peru. Women truly crisscrossed the globe between 1870 and 1940. Transforming technology: the age of journeying Women’s journeys were fuelled by an extensive technical revolution, much of which had its roots earlier in the nineteenth century and has become a familiar story. In September 1830, the first passenger railway between Liverpool and Manchester opened.21 Two decades later the main body of Britain’s railway network was in place: in 1852 some 6
exposed by these two texts fits into a wider poetics, which negotiates masculinity and femininity within the self. Its aim is not to simply celebrate one or the other, but to explore what are defined as the cruel conditions of their mutual existence. The last text which I would like to analyse in relation to body hair, modernity and extraordinary femininity is The Lady Who Loved Insects , a twelfth-century fragment translated from the Japanese into English by Arthur Waley in 1929. 77 I do not wish here to provide a historical reading of the
which time he wrote or began numerous literary and scholarly works. These included not only Stèles , but also his best-known novel, René Leys , published posthumously in 1922 but written mostly in 1913, drawing on both extensive research about and Segalen’s own experience of the 1911–12 Xinhai Revolution. 11 1913 was the year Sun Yat-sen fled to Japan, part of the shift in power that allowed Yuan Shikai to become the first president of China (1912–15) and then, briefly, the self-declared ‘emperor’ (1915–16). Segalen was hardly removed from these events, given the
: Chagall’s Homage to Apollinaire and European avant-garde’, Annette Becker considers the network of the avant-garde in Europe, ridden with conflict and antagonism, almost as a prefiguration of the war to come. This chapter discusses the painting Homage to Apollinaire , by Marc Chagall, as a synthesis of the above dynamics, real, virtual and occult, tying together the European avant-garde. Marked by the military metaphor of its denomination, the avant-garde evolves at a time of continuous war, the Russo-Japanese War of 1904–5, the Balkan Wars in 1912–13 and the First
Hythlodaeus. The actual narrative of the New Atlantis simply begins: ‘We sailed from Peru, (where we had continued by the space of one whole year), for China and Japan, by the South Sea; taking with us victuals for twelve months; and had good winds from the east, though soft and weak, for five months’ space and more’ (457). Here we have the typical beginning of many a travel narrative. For example, ‘The Discovery of Guiana’, by Sir Walter Ralegh, in Richard Hakluyt’s influential collection of English voyages, opens: ‘On Thursday the 6. of February in the yere 1595. we