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| The Japanese Influence in Victorian Art and Literature | ||
| 作者 | Ramsdell, Catherine M. (著) |
|---|---|
| 出處題名 | Dissertation Abstracts International |
| 卷期 | v.61 n.9 Section A |
| 出版日期 | 2000 |
| 出版者 | ProQuest LLC |
| 出版者網址 | https://www.proquest.com/ |
| 出版地 | Ann Arbor, MI, US [安娜堡, 密西根州, 美國] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English |
| 學位類別 | 博士 |
| 校院名稱 | Auburn University |
| 指導教授 | Haney, David P. |
| 畢業年度 | 2000 |
| 附註項 | 234p |
| 關鍵詞 | Japanese; Victorian; Art; Literature; Orientalism |
| 摘要 | My dissertation, The Japanese Influence in Victorian Art and Literature, uses a combination of cultural criticism, and postcolonial studies to explore the way British artists, and authors represented Japan and the Japanese culture in their works. Arguing against Edward Said's concept of Orientalism, I illustrate how the British represented Japan not only in an anti-imperial manner. These authors and artists often express antiimperial sentiments by voicing their concerns about fixed identities, tourism, and British aesthetic superiority. Chapter One, “Japan and Britain: Aesthetic Encounters,” traces the opening of Japan and the early cultural clashes between Britain and Japan. The cultural and political situation surrounding the opening of Japan was drastically different from the colonization of other Eastern countries. Japan's colonization was primarily a cultural one that did not involve military occupation or a government takeover, an issue rarely addressed in imperial and Oriental discussions. Most postcolonial theory is applied to narrative-genres. For example, in Orientalism, Said focuses primarily on narrative genres and most critics since have continued this focus. Examining non-narrative genres forces us to redefine of the concept of Orientalism by reexamining the complex issues of identity, representation, and influence. The second chapter, “Moving Beyond: Whistler, Art, and Japonisme” examines the first Japanese-inflected artworks produced by the British. I examine the ways in which Whistler incorporates both Japanese elements such as vases and prints as well as Japanese aesthetic theories to produce paintings that question colonial authority and attack British stereotypes of Japan. The third chapter, “Rereading Orientalism: Kipling, Japan, and Buddhism,” moves from the visual arts to written texts. Kipling's prose writing about Japan indicates his confusion not only about his own identity, but also about British national identity and its relationship to Japanese national identity. “Buddha at Kamakura” is one of Kipling's last works concerning Japan and contains the most strongly stated objections to Britain's international policies. I argue that in this poem Kipling rejects the fundamental elements of imperialism and Orientalism by suggesting the Buddhism is superior to Christianity. My last chapter, “Identity, Japonisme, and Anti-Imperialism in The Picture of Dorian Gray,” finally turns to the novel, the genre most often addressed in discussions of Orientalism and imperialism. In this chapter, I argue the Wilde is suggesting identity cannot be constructed solely from art and that Wilde presents Japanese art and artists as more natural because they resist fixity. In doing so, Wilde begins to break down traditional colonial binary oppositions such as self and other and also argues against British self-glorification. |
| ISBN | 0599952016; 9780599952010 |
| 點閱次數 | 654 |
| 建檔日期 | 2005.09.23 |
| 更新日期 | 2022.03.25 |
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