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Charles Longfellow, son of Henry Wadsworth Longfellow, arrived in Yokohama in 1871, intending a brief visit, and stayed for two years. He returned to Boston laden with photographs, curios, and art objects, as well as the elaborate tattoos he had "collected" on his body. His journals, correspondence, and art collection dramatically demonstrate America’s early impressions of Japanese culture, and his personal odyssey illustrates the impact on both countries of globetrotting tourism. Interweaving Longfellow’s experiences with broader issues of tourism and cultural authenticity, Christine Guth discusses the ideology of tourism and the place of Japan within nineteenth-century round-the-world travel. This study goes beyond simplistic models of reciprocal influence and authenticity to a more synergistic account of cross-cultural dynamics.
Includes bibliographical references (p. 174-203) and index.
"Expanding the canon of photographic history, Capturing Japan in Nineteenth Century New England Photography Collections focuses on six New Englanders, whose travel and photograph collecting influenced the flowering of Japonism in late nineteenth-century Boston. The book also explores the history of Japanese photography and its main themes. The first history of its kind, this study illuminates the ways photographs, seeming conveyors of fact, imprint mental images and suppositions on their viewers"--
The Providence of John and Abigail Adams -- John Quincy and Louisa Catherine Adams at prayer -- Charles Francis Adams on pilgrimage -- The cosmopolitan Christianity of Henry Adams -- Higher than a city upon a hill.
"Is Paris Still the Capital of the Nineteenth Century?" The question that guides this volume stems from Walter Benjamin's studies of nineteenth-century Parisian culture as the apex of capitalist aesthetics. Thirteen scholars test Benjamin's ideas about the centrality of Paris, formulated in the 1930s, from a variety of methodological perspectives. Many investigate the underpinnings of the French capital's reputation and mythic force, which was based largely upon the city's capacity to put itself on display. Some of the authors reassess the famed centrality of Paris from the vantage point of our globalized twenty-first century by acknowledging its entanglements with South Africa, Turkey, Japan, and the United States. The volume equally studies a broader range of media than Benjamin did himself: from modernist painting and printmaking, photography, and illustration to urban planning. The essays conclude that Paris did in many ways function as the epicenter of modernity's international reach, especially in the years from 1850 to 1900, but did so only as a consequence of the idiosyncratic force of its mythic image. Above all, the essays affirm that the study of late nineteenth-century Paris still requires nimble and innovative approaches commensurate with its legend and global aura.
To what extent can music be employed to shape one culture's understanding of another? In the American imagination, Japan has represented the "most alien" nation for over 150 years. This perceived difference has inspired fantasies--of both desire and repulsion--through which Japanese culture has profoundly impacted the arts and industry of the U.S. While the influence of Japan on American and European painting, architecture, design, theater, and literature has been celebrated in numerous books and exhibitions, the role of music has been virtually ignored until now. W. Anthony Sheppard's Extreme Exoticism offers a detailed documentation and wide-ranging investigation of music's role in shaping American perceptions of the Japanese, the influence of Japanese music on American composers, and the place of Japanese Americans in American musical life. Presenting numerous American encounters with and representations of Japanese music and Japan, this book reveals how music functions in exotic representation across a variety of genres and media, and how Japanese music has at various times served as a sign of modernist experimentation, a sounding board for defining American music, and a tool for reshaping conceptions of race and gender. From the Tin Pan Alley songs of the Russo-Japanese war period to Weezer's Pinkerton album, music has continued to inscribe Japan as the land of extreme exoticism.
Sites Unseen examines the complex intertwining of race and architecture in nineteenth and early-twentieth century American culture, the period not only in which American architecture came of age professionally in the U.S. but also in which ideas about architecture became a prominent part of broader conversations about American culture, history, politics, andOCoalthough we have not yet understood this clearlyOCorace relations. This rich and copiously illustrated interdisciplinary study explores the ways that American writing between roughly 1850 and 1930 concerned itself, often intensely, with the racial implications of architectural space primarily, but not exclusively, through domestic architecture. In addition to identifying an archive of provocative primary materials, Sites Unseen draws significantly on important recent scholarship in multiple fields ranging from literature, history, and material culture to architecture, cultural geography, and urban planning. Together the chapters interrogate a variety of expressive American vernacular forms, including the dialect tale, the novel of empire, letters, and pulp stories, along with the plantation cabin, the West Indian cottage, the Latin American plaza, and the OC OrientalOCO parlor. These are some of the overlooked plots and structures that can and should inform a more comprehensive consideration of the literary and cultural meanings of American architecture. Making sense of the relations between architecture, race, and American writing of the long nineteenth centuryOCoin their regional, national, and hemispheric contextsOCo Sites Unseen provides a clearer view not only of this catalytic era but also more broadly of what architectural historian Dell Upton has aptly termed the social experience of the built environment."
"Mid-nineteenth century Russian radicals who witnessed the Meiji Restoration saw it as the most sweeping revolution in recent history and the impetus for future global progress. Acting outside imperial encounters, they initiated underground transnational networks with Japan. Prominent intellectuals and cultural figures, from Peter Kropotkin and Lev Tolstoy to Saigo Takamori and Tokutomi Roka, pursued these unofficial relationships through correspondence, travel, and networking, despite diplomatic and military conflicts between their respective nations. Tracing these non-state networks, Anarchist Modernity uncovers a major current in Japanese intellectual and cultural life between 1860 and 1930 that might be described as “cooperatist anarchist modernity”—a commitment to realizing a modern society through mutual aid and voluntary activity, without the intervention of state governance. These efforts later crystallized into such movements as the Nonwar Movement, Esperantism, and the popularization of the natural sciences. Examining cooperatist anarchism as an intellectual foundation of modern Japan, Sho Konishi offers a new approach to Japanese history that fundamentally challenges the “logic” of Western modernity. It looks beyond this foundational construct of modern history writing to understand people, practices, and cultural expressions that have been forgotten or dismissed as products of anti-modern nativist counter urges against the West."
This is the first full-length study of literary tourism in North America as well as Britain, and a unique exploration of popular response to writers, literary house museums, and the landscapes or "countries " associated with their lives and works. An interdisciplinary study ranging from 1820-1940, Homes and Haunts: Touring Writers' Shrines and Countries unites museum and tourism studies, book history, narrative theory, theories of gender, space, and things, and other approaches to depict and interpret the haunting experiences of exhibited houses and the curious history of topo-biographical writing about famous authors. In illustrated chapters that blend Victorian and recent first-person encounters that range from literary shrines and plaques to guidebooks, memoirs, portraits, and monuments, Alison Booth discusses pilgrims such as William and Mary Howitt, Anna Maria and Samuel Hall, and Elbert Hubbard, and magnetic hosts and guests as Washington Irving, Wordsworth, Martineau, Longfellow, Hawthorne, James, and Dickens. Virginia Woolf's feminist response to homes and haunts shapes a chapter on Mary Russell Mitford, Gaskell, and the Brontës, and another on the Carlyles' house and Monk's House. Booth rediscovers collections of personalities, haunted shrines, and imaginative re-enactments that have been submerged by a century of academic literary criticism.