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Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
Mothership.SG
Search Search Go S’porean Harvard scholar & equity fund associate takes to Tokyo streets as Japan’s 1st foreign oiran The most elegant performer there, if we do say so ourselves. By Yeo Kaiqi | 22 hours 184 Here’s something cool that you might not have heard about that happened late last month. While all of us were busy getting mad about the presidential (s)election, Singaporean Rachel Leng was getting out there and making a name for us in a pretty interesting way. According to The Japan News, one of Japan’s five national newspapers, the 27-year-old was selected to perform as one of five oiran of the annual Shinagawa Shukuba Matsuri festival, an annual cultural event held in Tokyo, Japan. Here she is, second from the left: Photo via Rachel Leng’s Facebook post Advertisement You can see her walking elegantly down the street in super high wooden platform clogs here. In this video in particular, she demonstrates a distinctive style called “soto hachimonji”, in which the walker’s feet trace a sideways arc on the ground: But first, what’s an oiran, and what’s this festival? An oiran is a Japanese prostitute who was very popular and highly regarded mostly for her beauty — not to be confused with the better-known term geisha, who is very skilled in song, dance, playing an instrument, and otherwise entertaining guests. Leng appears in the “Oiran Dochu”, one of the main attractions of the Shinagawa Shukuba Matsuri, which celebrates the history of Shinagawa during the Edo period and its role in making Tokyo the city it is today, by re- creating the din and bustle of the Shinagawa ward back then. -
The Sexual Life of Japan : Being an Exhaustive Study of the Nightless City Or the "History of the Yoshiwara Yūkwaku"
Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924012541797 Cornell University Library HQ 247.T6D27 1905 *erng an exhau The sexual life of Japan 3 1924 012 541 797 THE SEXUAL LIFE OF JAPAN THE SEXUAL LIFE OF JAPAN BEING AN EXHAUSTIVE STUDY OF THE NIGHTLESS CITY 1^ ^ m Or the "HISTORY of THE YOSHIWARA YUKWAKU " By J, E. DE BECKER "virtuous men hiive siitd, both in poetry and ulasslo works, that houses of debauch, for women of pleasure and for atreet- walkers, are the worm- eaten spots of cities and towns. But these are necessary evils, and If they be forcibly abolished, men of un- righteous principles will become like ravelled thread." 73rd section of the " Legacy of Ityasu," (the first 'I'okugawa ShOgun) DSitl) Niimrraiia SUuatratiuna Privately Printed . Contents PAGE History of the Yosliiwara Yukwaku 1 Nilion-dzutsumi ( 7%e Dyke of Japan) 15 Mi-kaeri Yanagi [Oazing back WUlow-tree) 16 Yosliiwara Jiuja ( Yoahiwara Shrine) 17 The "Aisome-zakura " {Chen-y-tree of First Meeting) 18 The " Koma-tsunagi-matsu " {Colt tethering Pine-tree) 18 The " Ryojin no Ido " {Traveller's Well) 18 Governmeut Edict-board and Regulations at the Omen (Great Gate) . 18 The Present Omon 19 »Of the Reasons why going to the Yosliiwara was called " Oho ve Yukn " ". 21 Classes of Brothels 21 Hikite-jaya (" Introducing Tea-houses"') 28 The Ju-hachi-ken-jaya (^Eighteen Tea-houses) 41 The " Amigasa-jaya -
The Opening of Japan
i i i i West Bohemian Historical Review VI j 2016 j 1 The Opening of Japan Eliška Lebedová∗ Since the first half of the 17th century Japan closed itself against the influence of the outside world. Only the Dutch traders could under strict restrictions enter the port of Nagasaki. This policy of so-called sakoku (isolation) was one of the cornerstones of the Tokugawa bakufu. However, since the turn of the 18th and 19th century the ships of the western pow- ers started to gain interest in the seas around Japan. The ruling Tokugawa regime was nevertheless anxious of the internal consequences of the opening of the country and turned away any effort of western Great Powers to open Japan to foreign trade. This policy was not however backed by military ability to repulse the foreigners if they came and tried to open Japan by force. The arrival of powerful fleet of Commodore Perry in 1853 therefore compelled the bakufu to sign a first treaty opening its ports to western country. Treaties with other countries followed soon and at the end of the 50s Japan had to sign a series of unequal treaties under the pressure of the Great Powers. This was a start of a whole new period of Japanese history. [Japan; Great Britain; United States; Russia; France; diplomacy; international relations; trade] Japan1 had always been an isolated and insular country due to its remote location. Foreign relations were limited to its relatively close neighbours in Asia. Trade agreements concluded in the 15th century with Korea and China led to the brisk exchange of goods, which was, however, accompa- nied by increased activities of Japanese pirates (wako¯) and Chinese smug- glers on the Chinese-Korean coast.2 Traders also sailed from Japan to Vietnam, Thailand and the Philippines. -
Poetic Constraints of Lyric by Nicholas Andrew Theisen a Dissertation
Re[a]ding and Ignorance: Poetic Constraints of Lyric by Nicholas Andrew Theisen A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in The University of Michigan 2009 Doctoral Committee: Professor E. Ramirez-Christensen, Chair Professor Marjorie Levinson Associate Professor Johanna H. Prins Associate Professor Joseph D. Reed © Nicholas Andrew Theisen 2009 For no one ii Acknowledgements The work concluded, tentatively, with this dissertation would not have been possible without the continued intellectual engagement with my colleagues within and without the Department of Comparative Literature at the University of Michigan, especially (in no particular order) Michael Kicey, Meng Liansu, Sylwia Ejmont, Carrie Wood, and Sharon Marquart. I have benefited much from Jay Reed’s friendly antagonism, Marjorie Levinson’s keen insight, Esperanza Ramirez-Christensen’s grounding levity, and Yopie Prins’s magnanimity. But beyond the academic sphere, more or less, I’m am deeply indebted to Kobayashi Yasuko for reminding me that, to some, poetry matters as more than a mere figure of academic discourse and to my wife Colleen for her wholly unexpected insights and seemingly infinite patience. I have likely forgotten to mention numerous people; consider this my I.O.U. on a free drink. iii Table of Contents Dedication ii Acknowledgements iii List of Abbreviations vi List of Figures vii Chapters 1. Introduction 1 2. The Edges of Anne Carson’s Sappho 24 The Fragments of [Anne] Carson 27 Mutilation 45 3. Chocolate Bittersweet: Tawara Machi Translating Yosano Akiko 69 Bitter 71 Sweet 97 4. Separate but Equal: [un]Equating Catullus with Sappho 110 Impar 115 Par 128 Silence 140 5. -
HIRATA KOKUGAKU and the TSUGARU DISCIPLES by Gideon
SPIRITS AND IDENTITY IN NINETEENTH-CENTURY NORTHEASTERN JAPAN: HIRATA KOKUGAKU AND THE TSUGARU DISCIPLES by Gideon Fujiwara A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2013 © Gideon Fujiwara, 2013 ABSTRACT While previous research on kokugaku , or nativism, has explained how intellectuals imagined the singular community of Japan, this study sheds light on how posthumous disciples of Hirata Atsutane based in Tsugaru juxtaposed two “countries”—their native Tsugaru and Imperial Japan—as they transitioned from early modern to modern society in the nineteenth century. This new perspective recognizes the multiplicity of community in “Japan,” which encompasses the domain, multiple levels of statehood, and “nation,” as uncovered in recent scholarship. My analysis accentuates the shared concerns of Atsutane and the Tsugaru nativists toward spirits and the spiritual realm, ethnographic studies of commoners, identification with the north, and religious thought and worship. I chronicle the formation of this scholarly community through their correspondence with the head academy in Edo (later Tokyo), and identify their autonomous character. Hirao Rosen conducted ethnography of Tsugaru and the “world” through visiting the northern island of Ezo in 1855, and observing Americans, Europeans, and Qing Chinese stationed there. I show how Rosen engaged in self-orientation and utilized Hirata nativist theory to locate Tsugaru within the spiritual landscape of Imperial Japan. Through poetry and prose, leader Tsuruya Ariyo identified Mount Iwaki as a sacred pillar of Tsugaru, and insisted one could experience “enjoyment” from this life and beyond death in the realm of spirits. -
PICTURES of the FLOATING WORLD an Exploration of the World of the Yoshiwara, 吉原
Cherry Blossom in the Yoshiwara by Yoshikazu PICTURES OF THE FLOATING WORLD An exploration of the world of the Yoshiwara, 吉原 PICTURES OF THE FLOATING WORLD In the nightless city Floating free from life’s cares Picture memories Haiku Keith Oram INTRODUCTION Japanese woodblock prints that recorded the Ukiyo, the ‘Floating World’ of the Yoshiwara of Edo city were so numerous that during the nineteenth century they were used to wrap ceramics exported to Europe. This practice provided some European artists with their first proper encounter with these beautifully created images. The impact on western art of their bold colours and sensuous line was quite significant influencing many artists of the avant gard. The story of those prints, however, began much earlier in the seventeenth century. First a little background history. The battle of Sekigahara in 1600 and the fall of Osaka in 1615 allowed Tokugawa Ieyasu to gain complete control of Japan. He had been made Shogun, supreme military leader, in 1603, but the fall of Osaka was the final action that gave him complete control. Almost his first act was to move the capital from Kyoto, the realm of the Emperor, to Edo, now Tokyo. This backwater town, now the new capital, grew very quickly into a large town. Tokugawa Iemitsu, Shogun 1623-51, required the daimyo of Japan, local rulers and warlords, to remain in Edo every other year, but when they returned to their fiefs he made them leave their families in the capital. This ‘hostage’ style management, sankin tokai, helped to maintain the peace. The other affect was that the daimyo needed to build large homes in Edo for their families. -
The Making of Modern Japan
The Making of Modern Japan The MAKING of MODERN JAPAN Marius B. Jansen the belknap press of harvard university press Cambridge, Massachusetts London, England Copyright © 2000 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America Third printing, 2002 First Harvard University Press paperback edition, 2002 Book design by Marianne Perlak Library of Congress Cataloging-in-Publication Data Jansen, Marius B. The making of modern Japan / Marius B. Jansen. p. cm. Includes bibliographical references and index. isbn 0-674-00334-9 (cloth) isbn 0-674-00991-6 (pbk.) 1. Japan—History—Tokugawa period, 1600–1868. 2. Japan—History—Meiji period, 1868– I. Title. ds871.j35 2000 952′.025—dc21 00-041352 CONTENTS Preface xiii Acknowledgments xvii Note on Names and Romanization xviii 1. SEKIGAHARA 1 1. The Sengoku Background 2 2. The New Sengoku Daimyo 8 3. The Unifiers: Oda Nobunaga 11 4. Toyotomi Hideyoshi 17 5. Azuchi-Momoyama Culture 24 6. The Spoils of Sekigahara: Tokugawa Ieyasu 29 2. THE TOKUGAWA STATE 32 1. Taking Control 33 2. Ranking the Daimyo 37 3. The Structure of the Tokugawa Bakufu 43 4. The Domains (han) 49 5. Center and Periphery: Bakufu-Han Relations 54 6. The Tokugawa “State” 60 3. FOREIGN RELATIONS 63 1. The Setting 64 2. Relations with Korea 68 3. The Countries of the West 72 4. To the Seclusion Decrees 75 5. The Dutch at Nagasaki 80 6. Relations with China 85 7. The Question of the “Closed Country” 91 vi Contents 4. STATUS GROUPS 96 1. The Imperial Court 97 2. -
A Handbook for Women's Tea in the Nineteenth Century
Chapter 3 A Handbook for Women’s Tea in the Nineteenth Century ecords of tea gatherings show that female attendants occasionally accompanied their mistresses at these Revents (discussed in chapter 1). At tea gatherings, women usually sat alongside men, both those from the same household and out- siders. These gatherings were thus a space in which female attendants could interact socially with others in a household-based network of tea practice. High-ranking wives who were tea practitioners themselves may have expected their female attendants also to be proficient at the art. Perhaps prospective employees may have had to demonstrate their abil- ity to do tea at their interview. Lessons may have been given to atten- dants within the household from a tea master or an experienced female practitioner. On sugoroku board games, depictions of attendants engag- ing in tea practice suggest that private study of tea could be part of the lives of female attendants in elite households. Who were the women who went into service at elite households, and what did being in service entail? This chapter addresses these questions and examines the motiva- tions for women to enter into service, before moving on to discuss the connection between tea culture and service specifically. The chapter concludes with a case study of tea practice among women of the Ii household in the nineteenth century. The handbook for women’s tea penned by Oguchi Shōō in the eighteenth century was pri- vately circulated among like-minded samurai tea practitioners in manu- script form. In the nineteenth century, the daimyo and tea master Ii Naosuke transcribed and amended his own copy of A Woman’s Hand- book, which he circulated among the women of his household, including family members and female attendants. -
Pioneers of the Women's Movement in Japan: Hiratsuka Raichô and Fukuda Hideko Seen Through Their Journals, Seitô Andsekai Fujn
PIONEERS OF THE WOMEN'S MOVEMENT IN JAPAN: HIRATSUKA RAICHÔ AND FUKUDA HIDEKO SEEN THROUGH THEIR JOURNALS, SEITÔ ANDSEKAI FUJN by Fumiko Horimoto A thesis submitted in conformity with the requirements for the degree of Master of Arts Graduate Department of East Asian Studies University of Toronto O Copyright by Fumiko Horimoto 1999 National Library Bibliothèque nationale I*I of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the excIusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fïh, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thése. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT Master of Arts, 1999 Fumiko Horimoto Department of East Asian Studies Hiratsuka Raichô's (1886-1971) statement, "In the beginning woman was the Sun," in the opening editorial of Seitô is generally regarded as the first Japanese "women's rights declaration." However, in January 1907, more than four years before the publication of Seitô, Fukuda (Kageyama) Hideko (1865-1927), one of the most remarkable activists in Japan's early phase of feminism, also published a magazine, Sekai fujïn (Women of the World), aiming at the emancipation of women. -
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39 Ching-Ling Wang* R E JA P RE-CONSIDERING A CIZHOU-TYPE JAR IN THE VVAK COLLECTION U-TY Introduction O Within the collection of the VVAK, on long term loan to the Rijksmuseum Amsterdam, is a Cizhou-type (Cizhouyao xi) stoneware jar (AK-MAK-536, fig. 1). This jar has a short tapered neck, a wide mouth, and four small loops between the neck and the shoulder which would originally have been used to IZH secure a lid; from the square shoulder the sides narrow towards the foot. C The inner neck and the body are covered with a crackled glaze and slip to around three centimeters above the base. On the surface of the glaze are cloudy patches of slip that turned pink or brownish-beige during firing. A The slip has been worn away around the base. One side is decorated with G a painting of a galloping horse, shown running through grassland – as suggested by spare brush strokes. The horse is painted in shades of iron IN brown beneath the glaze. It has a dark brown body, a yellowish-brown mane, R and a tail painted with fluid brushstrokes. On the other side, in the same E palette, is an as yet unidentified plant (fig. 2). The base of the jar is plain biscuit (fig. 3). D I first encountered this jar in September 2013 during an interview for my job as curator of Chinese art in the Rijksmuseum. I remember that this jar was NSI placed in front of me and I was asked several questions about it. -
Chapter 4: Modern Japan and the World (Part 1) – from the Final Years of the Edo Shogunate to the End of the Meiji Period
| 200 Chapter 4: Modern Japan and the World (Part 1) – From the Final Years of the Edo Shogunate to the End of the Meiji Period Section 1 – The encroachment of the Western powers in Asia Topic 47 – Industrial and people's revolutions | 201 What events led to the birth of Europe's modern nations? People's revolutions The one hundred years between the late-seventeenth and late-eighteenth centuries saw the transformation of Europe's political landscape. In Great Britain, the king and the parliament had long squabbled over political and religious issues. When conflict over religious policies intensified in 1688, parliament invited a new king from the Netherlands to take the throne. The new king took power without bloodshed and sent the old king into exile. This event, known as the Glorious Revolution, consolidated the parliamentary system and turned Britain into a constitutional monarchy.1 *1=In a constitutional monarchy, the powers of the monarch are limited by the constitution and representatives chosen by the citizens run the country's government. Great Britain's American colonies increasingly resisted the political repression and heavy taxation imposed by their king, and finally launched an armed rebellion to achieve independence. The rebels released the Declaration of Independence in 1776, and later enacted the Constitution of the United States, establishing a new nation with a political system based on a separation of powers.2 *2=Under a separation of powers, the powers of the government are split into three independent branches: legislative, executive, and judicial. In 1789, an angry mob of Parisian citizens, who groaned under oppressively heavy taxes, stormed the Bastille Prison, an incident that sparked numerous rural and urban revolts throughout France against the king and the aristocracy.