This anthology by Roland Barthes is a reflection on his travels to Japan in the 1960s. In twenty-six short chapters he writes about his encounters with symbols of Japanese culture as diverse as pachinko, train stations, chopsticks, food, physiognomy, poetry, and gift-wrapping. He muses elegantly on, and with affection for, a system "altogether detached from our own." For Barthes, the sign here does not signify, and so offers liberation from the West's endless creation of meaning. Tokyo, like all major cities, has a center--the Imperial Palace--but in this case it is empty, "both forbidden and indifferent ... inhabited by an emperor whom no one ever sees." This emptiness of the sign is pursued throughout the book, and offers a stimulating alternative line of thought about the ways in which cultures are structured.
Like Roland Barthes' well-known book, L’Empire des signes, from which the title of the present collection is taken, this volume contains essays dealing with certain aspects of Japanese culture.
Nineteenth-century periodicals frequently compared themselves to the imperial powers then dissecting the globe, and this interest in imperialism can be seen in the exotic motifs that surfaced in works by such late Romantic authors as John Keats, Charles Lamb, James Hogg, Letitia Landon, and Lord Byron. Karen Fang explores the collaboration of these authors with periodical magazines to show how an interdependent relationship between these visual themes and rhetorical style enabled these authors to model their writing on the imperial project. Fang argues that in the decades after Waterloo late Romantic authors used imperial culture to capitalize on the contemporary explosion of periodical magazines. This proliferation of "post-Napoleonic" writing—often referencing exotic locales—both revises longstanding notions about literary orientalism and reveals a remarkable synthesis of Romantic idealism with contemporary cultural materialism that heretofore has not been explored. Indeed, in interlocking case studies that span the reach of British conquest, ranging from Greece, China, and Egypt to Italy and Tahiti, Fang challenges a major convention of periodical publication. While periodicals are usually thought to be defined by time, this account of the geographic attention exerted by late Romantic authors shows them to be equally concerned with space. With its exploration of magazines and imperialism as a context for Romantic writing, culture, and aesthetics, this book will appeal not only to scholars of book history and reading cultures but also to those of nineteenth-century British writing and history.
A highly original and accessible history of Latin between the sixteenth and twentieth centuries For almost three centuries, Latin dominated the civic and sacred worlds of Europe and, arguably, the entire western world. From the moment in the sixteenth century when it was adopted by the Humanists as the official language for schools and by the Catholic Church as the common liturgical language, it was the way in which millions of children were taught, people prayed to God, and scholars were educated. Francoise Waquet’s history of Latin between the sixteenth and twentieth centuries is a highly original and accessible exploration of the institutional contexts in which the language was adopted. It goes on to consider what this conferring of power and influence on Latin meant in practice. Among the questions Waquet investigates are: What privileges were, and are still, accorded to those who claim to have studied Latin? Can Latin as a subject for study be anything more than purely linguistic or does it reveal a far more complex heritage? Has Latin’s deeply embedded cultural legacy already given way to a nostalgic exoticism? Latin: A Symbol’s Empire is a valuable work of reference, but also an important piece of cultural history: the story of a language that became a symbol with its own, highly significant empire.
A major collection of essays and interviews from an iconic 20th-century philosopher in five volumes, now all available together in paperback. Roland Barthes was a restless, protean thinker. A constant innovator--often as a daring smuggler of ideas from one discipline to another--he first gained an audience with his pithy essays on mass culture and then went on to produce some of the most suggestive and stimulating cultural criticism of the late twentieth century, including Empire of Signs, The Pleasure of the Text, and Camera Lucida. In 1976, this one-time structuralist outsider was elected to a chair at France's preeminent Collège de France, where he chose to style himself as a professor of literary semiology until his death in 1980. The greater part of Barthes's published writings has been available to a French audience since 2002, but now, translator Chris Turner presents a collection of essays, interviews, prefaces, book reviews, and other journalistic material for the first time in English and divided into five themed volumes. Volume four, Signs and Images, gathers pieces related to his central concerns--semiotics, visual culture, art, cinema, and photography--and features essays on Marthe Arnould, Lucien Clergue, Daniel Boudinet, Richard Avedon, Bernard Faucon, and many more.
Japan is a place of special fascination for the acclaimed international comics creator Igort, who has visited and lived there more than 20 times, and worked in the country's manga industry for more than a decade. In this masterful new book—part graphic memoir, part cultural meditation—Igort vividly recounts his personal experiences in Japan, creating comics amid the activities of everyday life, and finding inspiration everywhere: in nature, history, custom, art, and encounters with creators including animation visionary Hayao Miyazaki. With beautifully illustrated reflections on subjects from printmaking to Zen Buddhism, imperial history to the samurai code, Japanese film, literature, and manga, this is a richly rewarding book for anyone interested in Japan or comic arts practiced at the highest level.
*Finalist for the Pulitzer Prize and the National Book Critics Circle Award* *A New York Times Notable Book* *Winner of the Texas Book Award and the Oklahoma Book Award* This New York Times bestseller and stunning historical account of the forty-year battle between Comanche Indians and white settlers for control of the American West “is nothing short of a revelation…will leave dust and blood on your jeans” (The New York Times Book Review). Empire of the Summer Moon spans two astonishing stories. The first traces the rise and fall of the Comanches, the most powerful Indian tribe in American history. The second entails one of the most remarkable narratives ever to come out of the Old West: the epic saga of the pioneer woman Cynthia Ann Parker and her mixed-blood son Quanah, who became the last and greatest chief of the Comanches. Although readers may be more familiar with the tribal names Apache and Sioux, it was in fact the legendary fighting ability of the Comanches that determined when the American West opened up. Comanche boys became adept bareback riders by age six; full Comanche braves were considered the best horsemen who ever rode. They were so masterful at war and so skillful with their arrows and lances that they stopped the northern drive of colonial Spain from Mexico and halted the French expansion westward from Louisiana. White settlers arriving in Texas from the eastern United States were surprised to find the frontier being rolled backward by Comanches incensed by the invasion of their tribal lands. The war with the Comanches lasted four decades, in effect holding up the development of the new American nation. Gwynne’s exhilarating account delivers a sweeping narrative that encompasses Spanish colonialism, the Civil War, the destruction of the buffalo herds, and the arrival of the railroads, and the amazing story of Cynthia Ann Parker and her son Quanah—a historical feast for anyone interested in how the United States came into being. Hailed by critics, S. C. Gwynne’s account of these events is meticulously researched, intellectually provocative, and, above all, thrillingly told. Empire of the Summer Moon announces him as a major new writer of American history.
"George Black rediscovers the history and lore of one of the planet's most magnificent landscapes. Read Empire of Shadows, and you'll never think of our first—in many ways our greatest—national park in the same way again." —Hampton Sides, author of Blood and Thunder Empire of Shadows is the epic story of the conquest of Yellowstone, a landscape uninhabited, inaccessible and shrouded in myth in the aftermath of the Civil War. In a radical reinterpretation of the nineteenth century West, George Black casts Yellowstone's creation as the culmination of three interwoven strands of history - the passion for exploration, the violence of the Indian Wars and the "civilizing" of the frontier - and charts its course through the lives of those who sought to lay bare its mysteries: Lt. Gustavus Cheyney Doane, a gifted but tormented cavalryman known as "the man who invented Wonderland"; the ambitious former vigilante leader Nathaniel Langford; scientist Ferdinand Hayden, who brought photographer William Henry Jackson and painter Thomas Moran to Yellowstone; and Gen. Phil Sheridan, Civil War hero and architect of the Indian Wars, who finally succeeded in having the new National Park placed under the protection of the US Cavalry. George Black1s Empire of Shadows is a groundbreaking historical account of the origins of America1s majestic national landmark.
What is the meaning of a word? Most readers turn to the dictionary for authoritative meanings and correct usage. But what is the source of authority in dictionaries? Some dictionaries employ panels of experts to fix meaning and prescribe usage, others rely on derivation through etymology. But perhaps no other dictionary has done more to standardize the English language than the formidable twenty-volume Oxford English Dictionary in its 1989 second edition. Yet this most Victorian of modern dictionaries derives its meaning by citing the earliest known usage of words and by demonstrating shades of meaning through an awesome database of over five million examples of usage in context. In this fascinating study, John Willinsky challenges the authority of this imperial dictionary, revealing many of its inherent prejudices and questioning the assumptions of its ongoing revision. "Clearly, the OED is no simple record of the language `as she is spoke,'" Willinsky writes. "It is a selective representation reflecting certain elusive ideas about the nature of the English language and people. Empire of Words reveals, by statistic and table, incident and anecdote, how serendipitous, judgmental, and telling a task editing a dictionary such as the OED can be." Willinsky analyzes the favored citation records from the three editorial periods of the OED's compilation: the Victorian, imperial first edition; the modern supplement; and the contemporary second edition composed on an electronic database. He reveals shifts in linguistic authority: the original edition relied on English literature and, surprisingly, on translations, reference works, and journalism; the modern editions have shifted emphasis to American sources and periodicals while continuing to neglect women, workers, and other English-speaking countries. Willinsky's dissection of dictionary entries exposes contradictions and ambiguities in the move from citation to definition. He points out that Shakespeare, the most frequently cited authority in the OED, often confounds the dictionary's simple sense of meaning with his wit and artfulness. He shows us how the most famous four-letter words in the language found their way through a belabored editorial process, sweating and grunting, into the supplement to the OED. Willinsky sheds considerable light on how the OED continues to shape the English language through the sometimes idiosyncratic, often biased selection of citations by hired readers and impassioned friends of the language. Anyone who is fascinated with words and language will find Willinsky's tour through the OED a delightful and stimulating experience. No one who reads this book will ever feel quite the same about Murray's web of words.
The origins of Chinese ideographs were not known until 1899, when a scholar went to an apothecary for some medicine made of “dragon bone.” To his surprise, the bone, which had not yet been ground into powder, contained a number of carved inscriptions. Thus began the exploration of the 3000-year-old sources of the written characters still used in China today. In this unparalleled and deeply researched book, Cecilia Lindqvist tells the story of these characters and shows how their shapes and concepts have permeated all of Chinese thought, architecture, art, and culture.
