Modeling the West, Returning to Asia: Shifting Politics of Representation in Japanese Colonial Expositions in Korea

2005 ◽  
Vol 47 (3) ◽  
pp. 507-531 ◽  
Author(s):  
Hong Kal
Keyword(s):  
Nineteenth Century ◽  
Politics Of Representation ◽  
Specific Context ◽  
The West ◽  
Imperial Power ◽  
The World ◽  
Japanese Colonial ◽  
World Exposition ◽  
Historical Practice

The world exposition stemmed from the specific context of nineteenth-century Europe, but by the end of that century, its practice had already spread to the colonies as the imperial powers organized a number of colonial expositions. The colonial exposition was meant to represent colonialism as fundamental to the progress of both the metropole and the colony. The ideas of “progress” and “modernity” were represented in such a way that colonial subjects would acknowledge the benevolent contribution of imperial rule to the development of the colony. This historical practice attracted not only nations that had already achieved imperial status, but also nations such as Japan that were aspiring to become an imperial power.

Mirrors, Masks, and Masculinity: The Homosocial Legacy from Dickens to Machen

2016 ◽  
Vol 6 (3) ◽  
pp. 256-275
Author(s):  
Molly C. O'Donnell
Keyword(s):  
Nineteenth Century ◽  
Victorian Novel ◽  
Specific Context ◽  
Clear Cut ◽  
The World ◽  
Speech Genre

All the narrators and characters in J. Sheridan Le Fanu's In a Glass Darkly are unreliable impostors. As the title suggests, this is also the case with Arthur Machen's The Three Impostors, which similarly presents a virtual matryoshka of unreliability through a series of impostors. Both texts effect this systematic insistence on social constructedness by using and undermining the specific context of the male homosocial world. What served as the cure-all in the world of Pickwick – the homosocial bond – has here been exported, exposed, and proven flawed. The gothic is out in the open now, and the feared ghost resides without and within the group. The inability of anyone to interpret its signs, communicate its meaning, and rely on one's friends to talk one through it is the horror that cannot be overcome. Part of a larger project on the nineteenth-century ‘tales novel’ that treats the more heterogeneric and less heteronormative Victorian novel, this article examines how In a Glass Darkly and The Three Impostors blur the clear-cut gender division articulated in prior masculine presentations like The Pickwick Papers and feminine reinterpretations such as Cranford. These later texts challenge binaries of sex, speech, genre, and mode in enacting the previously articulated masculine and feminine simultaneously.

scholarly journals The sportification of judo: global convergence and evolution

2013 ◽  
Vol 8 (2) ◽  
pp. 299-317 ◽  
Author(s):  
Shohei Sato
Keyword(s):  
Nineteenth Century ◽  
Global Convergence ◽  
Martial Arts ◽  
Way Of Life ◽  
The West ◽  
Modern Times ◽  
The World ◽  
History Of ◽  
Almost All ◽  
Olympic Sport

AbstractThis article re-examines our understanding of modern sport. Today, various physical cultures across the world are practised under the name of sport. Almost all of these sports originated in the West and expanded to the rest of the world. However, the history of judo confounds the diffusionist model. Towards the end of the nineteenth century, a Japanese educationalist amalgamated different martial arts and established judo not as a sport but as ‘a way of life’. Today it is practised globally as an Olympic sport. Focusing on the changes in its rules during this period, this article demonstrates that the globalization of judo was accompanied by a constant evolution of its character. The overall ‘sportification’ of judo took place not as a diffusion but as a convergence – a point that is pertinent to the understanding of the global sportification of physical cultures, and also the standardization of cultures in modern times.

Introduction

2013 ◽  
Author(s):  
Anna Sun
Keyword(s):  
Nineteenth Century ◽  
Religious Life ◽  
World Religion ◽  
World Religions ◽  
The West ◽  
The World ◽  
Chinese Religions ◽  
Religious Nature

This introductory chapter talks about the confusions and controversies over the religious nature of Confucianism. It argues that the confusions come mainly from three sources. First, they come from the conceptualization of Confucianism as a world religion at the end of the nineteenth century in Europe, which was a historical product of the emergence of the “world religions” paradigm in the West. Second, they are caused by the problematic way in which Confucianism—and Chinese religions in general—has been studied and represented by questions which are based on a Judeo-Christian framework that cannot capture the complexity of Chinese religious life. Finally, confusion arises from the often contradictory development of Confucianism in today's China.

The Beau Monde

2020 ◽  
pp. 41-62
Author(s):  
Rohan McWilliam
Keyword(s):  
Nineteenth Century ◽  
Popular Music ◽  
Detailed Analysis ◽  
Popular Song ◽  
Night Time ◽  
The West ◽  
The World

Chapter 3 explores the world of elite leisure in both its high and low forms to uncover how the aristocracy continued to shape the West End in the first half of the nineteenth century. This chapter is devoted to nightlife and is intended to show that one purpose of pleasure districts was to construct the idea of the night-time economy. The chapter explores the world of gentlemens’ clubs and other locations of masculine pleasure before moving into an examination of opera, ballet, and gambling; both sources of aristocratic networks. The second half of the chapter then looks at the world of low life in the Covent Garden and Maiden Lane areas; territory of the ‘flash’ and the bohemians. Affluent gentlemen explored what they saw as the ‘underworld’. Here was a world of disreputable bars and spaces for popular song. There is a detailed analysis of venues such as the Cider Cellars which shaped the development of popular music and culture with its bawdy ballads.

John Henry Michell, 1863 - 1940

1941 ◽  
Vol 3 (9) ◽  
pp. 363-382 ◽  
Keyword(s):  
Nineteenth Century ◽  
Mining Industry ◽  
The West ◽  
Leaving Home ◽  
Copper Mine ◽  
The World ◽  
Newly Married

John Henry Michell was born at Maldon, Victoria, on 26 October 1863. His parents had arrived in Australia from Marytavy, Devonshire, about ten years earlier as the young and newly married John and Grace Michell seeking a fortune, or at least a competency, in the then lately discovered Australian goldfields. John Henry was the fourth of their five children. His mother’s maiden surname was Rowse. Both of the surnames point to French origins, though Gallic characteristics were perhaps more noticeable in the mother’s than in the father’s family. The men of both stocks had been in the mining industry of Cornwall from the time of its prosperity at the beginning of the nineteenth century, and earlier. At about the time of Grace Rowse’s birth, her father, Anthony Rowse, moved from Cornwall to Devonshire to manage a copper mine at Marytavy, and at the time of her marriage her numerous brothers, trained as mining engineers under their father, were leaving home to take up work in mining fields in various parts of the world. The industry was then declining rapidly in the West Country and within a brief period many of the younger people, like the Michells, deserted it for the Australian goldfields. It was amongst a group of these energetic and adventurous, but serious-minded, people—unscholastic, but very respectful to scholarship, and very quick to recognize intellectual superiority— that John Henry Michell was born.

scholarly journals The Painter and the Princess: Constructing Feminism/Decentring Orientalism between Copenhagen, Istanbul, Cairo and Tunis

2020 ◽  
Vol 9 (1) ◽  
pp. 46-71
Author(s):  
Ragnhild Johnsrud Zorgati
Keyword(s):  
Nineteenth Century ◽  
Gender Roles ◽  
The Other ◽  
Late Nineteenth Century ◽  
The West ◽  
Literature And Politics ◽  
Political Debates ◽  
The World ◽  
International Importance ◽  
Late Nineteenth

This article explores the encounters between a Polish-Danish painter and an Egyptian princess in the second part of the nineteenth century, at the junction of Orientalism, modernism and Islamic reformism. The painter Elisabeth Jerichau-Baumann is known for her Orientalist paintings and autobiographical writings, while Princess Nazli Fadhel was a hostess of influential intellectual salons in Cairo and Tunis and, as such, a contributor to the world of art, literature and politics. Jerichau-Baumann and Nazli Fadhel were both creative and controversial personalities engaged in the cultural and political debates of their time. They were outspoken and well-travelled, which challenged conventional gender roles. Based on Scandinavian, English, French and Arabic sources concerning Jerichau-Baumann and Nazli Fadhel's lives, this article argues that the activities of these two women are testament to the increasing international importance of feminist discourses in the late nineteenth century. Their encounter is emblematic of the rapidly expanding connections across cultural, linguistic, and religious boundaries that characterized the nineteenth-century world. It thus questions the binary constructions – the idea of the West/Europe and the Other – underlying the paradigm of Orientalism.

scholarly journals A cross-cultural perspective on musealization: the museum’s reception by China and Japan in the second half of the nineteenth century

2012 ◽  
Vol 10 (1) ◽  
pp. 15-27 ◽  
Author(s):  
Chang Wan-Chen
Keyword(s):  
Nineteenth Century ◽  
Far East ◽  
Cross Cultural ◽  
Cultural Preservation ◽  
Cultural Perspective ◽  
The West ◽  
The Far East ◽  
The World ◽  
China And Japan ◽  
Chinese Intellectuals

Historically museums emerged in the West and were subsequently taken up by people in other regions of the world, including the Far East, where the museum was adopted with alacrity by Japanese and Chinese intellectuals. This article explores how China and Japan imagined museums when they first encountered them in the West. It sketches how intellectuals in these two nations began to conduct ‘musealization’, and suggests that the museum in China and Japan was a product of appropriation of Western formats that was, however, deeply influenced by traditional attitudes to cultural preservation and display.

Populism and Worldwide Turbulence

2020 ◽  
Vol 37 ◽  
pp. 152-164
Author(s):  
Roland Robertson ◽  
Keyword(s):  
Nineteenth Century ◽  
Global South ◽  
Mao Zedong ◽  
Al Qaeda ◽  
Western World ◽  
The West ◽  
Central Aspect ◽  
The World ◽  
Entire World

This contribution consists in an attempt to make sense of one central aspect of the present worldwide turbulence, one which might well be called the contemporary, perfect, global storm. A pivotal problem that will be interrogated is the issue of the circumstances that have produced this phenomenon in most parts of the world, although it should be emphasized that the term populism is, more often than not, applied to the Western world rather than the East or, for the most part, the global South. However, this reservation does not amount to a severe caveat, since all the contemporary signs are that what is here called populism is sweeping across the entire world as a whole, even though it is not necessarily given this name in non-Western regions. To this generalization it should be added that there are, rather obviously, parallels to what has become known as populism in the West. Examples of this are anarchism in nineteenth century Russia and the movement known as the Long March under the leadership of Mao Zedong in the years 1934 and 1935 particularly, as well as al Qaeda and its various offshoots.

scholarly journals Eastern naturalness versus western artificiality: Rimsky Korsakov's influence on Manoles Kalomoires' early operas

Muzikologija ◽  
2005 ◽  
pp. 101-117
Author(s):  
Aikaterini Romanou
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
Present Article ◽  
Ancient Greece ◽  
Greek Literature ◽  
Ancient Greek ◽  
The West ◽  
The World ◽  
First Time ◽  
Language Question

In this article the writer investigates the relations between perceptions of the East and the West in nineteenth century Greece, their connection to national identity, to the language question and to political tendencies. The composer Manoles Kalomoires was influenced by a group of progressive intellectuals striving to liberate Greek literature and language from its dependence on Ancient Greek legacy, a dependence motivated by Western idealists (who saw in the Greek Revolution of 1821 a renaissance of Ancient Greece). Most were educated in the West, but promoted an oriental image of Greeks. Kalomoires' musical expression of this image was inspired by Rimsky-Korsakov's Sheherazade and the Golden Cockerel. In 1909-910 he wrote an unfinished opera, Mavrianos and the King, on the model of the Golden Cockerel. He later used this music in his best known opera, The Mother's Ring (1917). In the present article the similarities in the three works are for the first time shown. An essential influence from Rimsky-Korsakov's work is the contrast between the world of freedom, nature and fantasy and that of oppression.

Understanding Cultural Heritage: Multiplicity and Contestations in Chamba Town in the Western Himalayas

2018 ◽  
Vol 3 (2) ◽  
pp. 159-172
Author(s):  
Chandan Kaushal
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Cultural Heritage ◽  
Present Article ◽  
Decisive Role ◽  
Tourist Attraction ◽  
Western Himalayas ◽  
The West ◽  
Colonial Policy ◽  
The World

The idea of heritage is not new; originating in the West in the nineteenth century, it travelled in the world through colonial policy. However, heritage or world heritage, as it is known today, was conceived and propagated by global agencies like UNESCO in the second half of the twentieth century. The present article aims to explore the heritage status demand for Chamba town located in the Western Himalayas. Heritage is treated here not as a thing, but as a different kind of attitude towards past. Drawing form Ericksen’s idea heritage in this article is understood as different ‘historicity regimes’. Pursuance for heritage status for Chamba which was ruled by a single dynasty until Independence, having vibrant past, can be seen as part of globalization. Heritage here means for some a ‘brand’ for marketing a place for tourist attraction and for others preservation of antiquities or veneration of past which plays a decisive role in negotiating, maintaining and creating a group identity. Official and unofficial heritage practices coexist which sometimes lead to contestation over meaning and practice. Analysing categories that organize experiences of temporality in Chamba such as antiquity and heritage employed by scholars and practitioners are coexistent with folklore, memory and beliefs that are part of everydayness and differ from how practitioners make sense of past.

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