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Sir Herbert Hope Risley (1851 - 1911) - 'H. H. Risley', as he always signed himself - was a member of the Indian Civil Service (ICS) from 1873 to 1910 who served in Bengal and became a senior administrator and policymaker in the colonial government, as well as the pre-eminent anthropologist in British India. He was also an imperialist, who was convinced of the rightness of 'civilising' British rule and its benefits for both India and Britain, and one of this book's objectives is to render his simultaneous commitment to anthropology and imperialism intelligible to present-day readers. More specifically, Anthropologist and Imperialist: H. H. Risley and British India, 1873–1911 documents the two sides of Risley’s career, which is used as a case-study to investigate, first, the production and circulation of colonial knowledge, specifically anthropological knowledge, and secondly, its often loose and inconsistent connection with administration and policymaking, and with the government and state overall. Risley, like other officials engaged in anthropology in India, as well as the government itself, insisted that ethnography and anthropology had both ‘administrative’ and ‘scientific’ value; unlike previous works on Indian colonial anthropology, this book carefully examines its ‘scientific’ contributions in relation to contemporary metropolitan anthropology. It does not attempt to reinvent ‘greatman’ political or intellectual history, but does demonstrate the importance of studying the powerful officials who ruled British India, as well as the minor provincial politicians and subaltern subjects – or the abstract forces, such as colonialism and resistance – that have dominated recent historical scholarship. This book shows, too, that a detailed inquiry into Risley’s career, and his ideas and actions, can open new perspectives on a variety of continuing debates, including those over the colonial construction of caste and race in ‘traditional’ India, orientalism and forms of colonial knowledge, Victorian anthropology’s close relationship with the British empire, and the modern discipline’s uneasy links with its colonial past. Print edition not for sale in South Asia (India, Sri Lanka, Nepal, Bangladesh, Pakistan and Bhutan)
For more than one hundred years, Stone Harbor was the preferred summer destination for residents of New Jersey, Pennsylvania, and Delaware. One of the earliest resort towns, Stone Harbor was the dream of three brothers who, in the late 1800s, planned it in great detail. Its wide beach and sparkling ocean beckon to sunbathers, sailors, and deep-sea fishermen. Among the many people irresistibly drawn to this place of salt marsh, sand dune, and bay was Paul Preston Davis, whose remarkable collection of postcards and ephemera is featured in Stone Harbor.
Looks at Professor Risley's introduction of the Western-style circus to Japan in 1864 and his subsequent tours of the country with the Imperial Japanese Troupe of acrobats, an encounter that opened both cultures to one another.
Recounts the travels in North Alabama in the mid-1920s of Eleanor Risley (suffering from diabetes), her asthmatic husband, Pierre, and their dog, John. First published in segments in the Atlantic Monthly in 1928 and 1929, the travelogue is a colorful record of the culture, customs and dialect of the southern mountaineers of that era.
Reprint of the original, first published in 1874.
The unlikely history of early cross-cultural encounters between the West and Japan... "Professor" Risley (Richard Risley Carlisle) introduced the Western circus to Japan in 1864. Three years later, this former acrobat gave many in the West their first glimpse of Japan when he took his "Imperial Japanese Troupe" of acrobats and jugglers on a triumphant tour of North America and Europe. Over the next few years, the Troupe performed before presidents, monarchs, and ordinary citizens. Frederik L. Schodt argues compellingly that such early popular entertainments helped stir a curiosity about all things Japanese that eventually led to japonisme, The Mikado, and, in our time, the boom in manga and anime. Schodt's depiction of Risley and his troupe is enlivened by portraits of the circus demimonde and supported by nineteenth-century photographs, posters, and drawings, many in color. His accounts of these first meetings between Westerners and Japanese shed new light on how different cultures meet, mingle, and influence each other. Descriptions of crowds, dazzling routines, and superstar troupe performers like the famous Little All Right are a delightful revelation to anyone interested in Asia, the circus, and popular entertainment.