Relevant bibliographies by topics / Black, Henry James, Japan

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Academic literature on the topic 'Black, Henry James, Japan'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Black, Henry James, Japan"

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Swanson, Darren. "Henry Black: on stage in Meiji Japan." Asian Studies Review 40, no. 2 (February 24, 2016): 311–12. http://dx.doi.org/10.1080/10357823.2016.1148547.

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Goldberg, Shari. "Henry James’s Black Dresses." Nineteenth-Century Literature 72, no. 4 (March 1, 2018): 515–38. http://dx.doi.org/10.1525/ncl.2018.72.4.515.

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Shari Goldberg, “Henry James’s Black Dresses: Mourning without Grief” (pp. 515–538) While scholars have carefully discerned how nineteenth-century modes of mourning differ from Sigmund Freud’s later model, the distinction between mourning and grief, in texts of the period and beyond, tends to be collapsed. This essay argues that Henry James disentangles the two terms by insisting on mourning’s association with ritualistic, social behavior, most iconically the wearing of a black dress. In James’s writing, to be “in mourning” generally means to be physically within such a dress, without reference to one’s emotional state. His use of the phrase, particularly in “The Altar of the Dead” (1895) and “Maud-Evelyn” (1900), thus offers ways of thinking through responses to death apart from grief. One is that the black dress can obscure, rather than advertise, the wearer’s feelings. Another is that such garments may facilitate ongoing relationships with persons now dead. Such processes of mourning without grief are nearly impossible to recognize after the advent of psychoanalysis, yet this essay concludes by finding evidence of their circulation in today’s political resistance.
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Donahue-Martens, Scott. "James Henry Harris, Black Suffering: Silent Pain, Hidden Hope." Homiletic 45, no. 2 (December 2, 2020): 99–100. http://dx.doi.org/10.15695/hmltc.v45i2.5018.

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McArthur, Ian D. "Australian, British, or Japanese?: Henry Black in Japan." Japanese Studies 22, no. 3 (December 2002): 305–18. http://dx.doi.org/10.1080/1037139022000036986.

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McArthur, Ian. "Henry Black,rakugoand the coming of modernity in Meiji Japan." Japan Forum 16, no. 1 (March 2004): 135–64. http://dx.doi.org/10.1080/0955580032000189366.

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Shores, Matthew W. "Henry Black: On Stage in Meiji Japan by Ian McArthur." Asian Theatre Journal 32, no. 2 (2015): 675–80. http://dx.doi.org/10.1353/atj.2015.0032.

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Jortner, David. "Henry Black: On Stage in Meiji Japan by Ian McArthur." Journal of Japanese Studies 41, no. 1 (2015): 205–8. http://dx.doi.org/10.1353/jjs.2015.0010.

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Cain, William E. "Forms of Self-Representation in Booker T. Washington's Up from Slavery." Prospects 12 (October 1987): 201–22. http://dx.doi.org/10.1017/s0361233300005585.

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Booker T. Washington's Up from Slavery (1901) is one of the most famous American autobiographies, yet it is unfortunately also one of the least analyzed. Compared with the American autobiographies that we frequently study and teach, it seems meager and unchallenging. Unlike Whitman and Thoreau, Washington does not propose experiments in form, and he does not undertake a profound inner exploration as his text unfolds. He is not keenly conscious of his competitive relation to the autobiographical writings that have preceded his own and unlike Henry Adams and Henry James, he does not manifest a high degree of selfreflective awareness about the act of telling the story of his life. Nor does Washington's book display the sophisticated rendering of personal and public life that W. E. B. DuBois manages in Dusk of Dawn (1940), the subtle and disturbing account of black adolescence and early maturity that Richard Wright crafts in Black Boy (1945), the stylistic vigor and intelligence that James Baldwin demonstrates in Notes of a Native Son (1955), or the explosive energy that Malcolm X unleashes in his autobiography (1965).
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Stone, Ian R. "Hunting marine mammals for profit and sport: H.J. Snow in the Kuril Islands and the north Pacific, 1873–96." Polar Record 41, no. 1 (January 2005): 47–55. http://dx.doi.org/10.1017/s0032247404004000.

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Henry James Snow hunted marine mammals in the sub-Arctic Kuril Islands and adjacent areas of the North Pacific between the years 1873 and 1896. His success resulted from careful study of the animals hunted, in particular the sea otter. He had continual difficulties with the governments of Japan and Russia, which had sovereignty over the land and territorial waters of the region, some of the encounters involving violence. At the same time, Snow was a careful observer of the wildlife and surveyor of the natural features, especially of the Kuril Islands. His works represented the most accessible source of information about the islands as late as the start of the Pacific War in 1941.
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BUDICK, EMILY MILLER. "Hawthorne, Pearl, and the Primal Sin of Culture." Journal of American Studies 39, no. 2 (August 2005): 167–85. http://dx.doi.org/10.1017/s0021875805009679.

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In his long critical essay entitled simply “Hawthorne” (published in 1879), Henry James narrates the story of his own coming to know Hawthorne's most famous work of fiction, The Scarlet Letter. Speaking in an impersonal third person, James, “who was a child at the time,” explains that heremembers dimly the sensation that book produced, and the little shudder with which people alluded to it, as if a peculiar horror were mixed in its attractions. He was too young to read it himself, but its title, upon which he fixed his eyes as the book lay upon the table, had a mysterious charm. … Of course it was difficult to explain to a child the significance of poor Hester Prynne's blood-coloured A. But the mystery was at last partly dispelled by his being taken to see a collection of pictures (the annual exhibition of the National Academy), where he encountered a representation of a pale, handsome woman, in a quaint black dress and white coif, holding between her knees an elfish-looking little girl, fantastically dressed and crowned with flowers. Embroidered on the woman's breast was a great crimson A, over which the child's fingers, as she glanced strangely out of the picture, were maliciously playing. I was told that this was Hester Prynne and little Pearl, and that when I grew older I might read their interesting history.
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Dissertations / Theses on the topic "Black, Henry James, Japan"

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McArthur, Ian. "Mediating modernity Henry Black and narrated hybridity in Meiji Japan /." Connect to full text, 2002. http://hdl.handle.net/2123/518.

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Thesis (Ph. D.)--University of Sydney, 2002.
Title from title screen (viewed Apr. 28, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the School of European, Asian and Middle Eastern Languages and Studies, Faculty of Arts. Includes bibliography. Also available in print form.
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McArthur, Ian Douglas. "Mediating Modernity - Henry Black and Narrated Hybridity in Meiji Japan." University of Sydney. School of European, Asian and Middle Eastern Languages and Studies, 2002. http://hdl.handle.net/2123/518.

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Henry Black was born in Adelaide in 1858, but arrived in Japan in 1864 after his father became editor of the Japan Herald. In the late 1870s, Henry Black addressed meetings of members of the Freedom and People�s Rights Movement. His talks were inspired by nineteenth-century theories of natural rights. That experience led to his becoming a professional storyteller (rakugoka) affiliated with the San�y� school of storytelling (San�yuha). Black�s storytelling (rakugo) in the 1880s and 1890s was an attempt by the San�y�ha to modernise rakugo. By adapting European sensation fiction, Black blended European and Japanese elements to create hybridised landscapes and characters as blueprints for audiences negotiating changes synonymous with modernity during the Meiji period. The narrations also portrayed the negative impacts of change wrought through emulation of nineteenth-century Britain�s Industrial Revolution. His 1894 adaptation of Oliver Twist or his 1885 adaptation of Mary Braddon�s Flower and Weed, for example, were early warnings about the evils of child labour and the exploitation of women in unregulated textile factories. Black�s kabuki performances parallel politically and artistically inspired attempts to reform kabuki by elevating its status as an art suitable for imperial and foreign patronage. The printing of his narrations in stenographic books (sokkibon) ensured that his ideas reached a wide audience. Because he was not an officially hired foreigner (yatoi), and his narrations have not entered the rakugo canon, Black has largely been forgotten. A study of his role as a mediator of modernity during the 1880s and 1890s shows that he was an agent in the transfer to a mass audience of European ideas associated with modernity, frequently ahead of intellectuals and mainstream literature. An examination of Black�s career helps broaden our knowledge of the role of foreigners and rakugo in shaping modern Japan.
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Books on the topic "Black, Henry James, Japan"

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Henry Black: On stage in Meiji Japan. Clayton, Victoria, Australia: Monash University Publishing, 2013.

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Black beans & vice. Waterville, Me: Wheeler Pub., 2011.

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Black beans & vice. Woodbury, Minn: Midnight Ink, 2010.

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Warren, Kenneth W. Black and white strangers: Race and American literary realism. Chicago: University of Chicago Press, 1993.

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The Matthew Henry Study Bible: King James Version / Black Genuine Leather. Nelson Bibles, 1994.

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Abraham, Kenneth. The Matthew Henry Study Bible: King James Version / Black Genuine Leather. Nelson Bibles, 1994.

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Warren, Kenneth W. Black and White Strangers: Race and American Literary Realism (Black Literature and Culture Series). University Of Chicago Press, 1995.

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Bronstein, Michaela. Character and Identity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190655396.003.0003.

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What is the appeal and use of a charismatic character? Henry James’s attempt to preserve an ideal of vivid character associated with older genres like romance becomes part of James Baldwin’s set of rhetorical tools for demanding recognition of gay and black humanity. James shows the contagion of personality among characters not to reject a Victorian style of defined characterization, but as material for his protagonists’ decisive acts of self-definition. When Baldwin rejects the protest novel for failing to recognize the agency of individuals in resisting the roles society casts them in, it is through a Jamesian ideal of identity constructed out of, but not trapped within, one’s social context. The charismatically individual character provides a template for resisting the influence of social convention.
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Gonzalez, Aston. Visualizing Equality. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659961.001.0001.

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The fight for racial equality in the nineteenth century played out not only in marches and political conventions but also in the print and visual culture created and disseminated throughout the United States by African Americans. Advances in visual technologies--daguerreotypes, lithographs, cartes de visite, and steam printing presses--enabled people to see and participate in social reform movements in new ways. African American activists seized these opportunities and produced images that advanced campaigns for black rights. In this book, Aston Gonzalez charts the changing roles of African American visual artists as they helped build the world they envisioned. Understudied artists such as Robert Douglass Jr., Patrick Henry Reason, James Presley Ball, and Augustus Washington produced images to persuade viewers of the necessity for racial equality, black political leadership, and freedom from slavery. Moreover, these activist artists’ networks of transatlantic patronage and travels to Europe, the Caribbean, and Africa reveal their extensive involvement in the most pressing concerns for black people in the Atlantic world. Their work demonstrates how images became central to the ways that people developed ideas about race, citizenship, and politics during the nineteenth century.
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Book chapters on the topic "Black, Henry James, Japan"

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YARBOROUGH, RICHARD. "James David Corrothers and Henry Demarest Lloyd:." In Roots of the Black Chicago Renaissance, 78–93. University of Illinois Press, 2020. http://dx.doi.org/10.5406/j.ctv11cwb42.9.

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Yarborough, Richard. "James David Corrothers and Henry Demarest Lloyd." In Roots of the Black Chicago Renaissance, 78–93. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043055.003.0005.

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Tracing the relationship between the African American poet James David Corrothers and the influential political theorist Henry Demarest Lloyd, this chapter provides an example of interracial patronage that nuances our sense of black-white relations in late-nineteenth-century Chicago. As a man of means and a leading progressive activist, Lloyd supplied Corrothers with both financial support and also access to the emerging world of social reform. His impact on Corrothers’s political views is traced through the younger man’s letters to Lloyd in which he addresses the “free silver” debate, labor conflicts, African emigration, and the “Negro Problem” broadly. Moreover, the correspondence reveals the challenges confronting Corrothers as he struggled to launch a writing career while earning a living in a city offering limited employment opportunities for blacks.
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Rice, Alan. "Ghostly Presences, Servants and Runaways: Lancaster’s Emerging Black Histories and their Memorialization 1687–1865." In Britain's Black Past, 179–96. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621600.003.0011.

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Here, Alan Rice offers examples of a black presence in Lancaster, the fourth largest slave port in England. These findings, often in the form of archival fragments, expose a hidden history and puncture the narrative of the city’s success based on myths of mercantile glory. Examples include a rediscovered pamphlet by ex-slave James Johnson recounting his wanderings throughout the region in search of employment during the Cotton Famine; the memorialization of Sambo, a young slave who died during a brief visit; the day-book of merchant Henry Tindall noting the arrival of a slave chaperoning two young white boys; unearthed baptismal records and runaway slave ads; and a macabre family heirloom—the mummified hand of a favored slave—eventually buried by a descendant of the slave-owning merchant family. Finally, Rice offers the finances of three prosperous Lancashire merchants (Thomas Hodgson, James Sawrey and Thomas Hinde)—all prominent in the slave trade—to show how the money they invested in the region’s economy which helped drive the industrial revolution, were funded by profits of the slave trade. Rice suggests that these evidentiary snippets of a black presence in Lancaster can be a pathway to uncovering even more and serve to illuminate the connection between the city’s development and the forced labor of enslaved people.
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"The Wak̇áŋ Waċípi Songs and Song Stick of Henry Two Bear and the Pictographic Notebooks of James Black (Jim Sapa)." In The Red Road and Other Narratives of the Dakota Sioux, 217–48. UNP - Nebraska, 2020. http://dx.doi.org/10.2307/j.ctvv4185s.11.

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Dossett, Kate. "Wrestling with Heroes." In Radical Black Theatre in the New Deal, 122–63. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469654423.003.0004.

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This chapter and Chapters 4 and 5 consider how African Americans debated and dramatized the Black hero in Federal Theatre dramas. Chapter 3 focuses on the variant manuscripts of Theodore Browne’s John Henry drama, Natural Man. Written for and staged by the Seattle Negro Unit in 1937, it was significantly revised by the newly formed American Negro Theatre in Harlem in 1941. This chapter situates these manuscripts at the very center of a broader conversation about the problem of the hero that occupied Black writers in and beyond the Federal Theatre Project. In particular it compares the revisions made to Natural Man, with the stage adaptation of Richard Wright’s prize winning novel Native Son (1940). Running at St. James Theatre in Manhattan just as Natural Man opened in Harlem in spring 1941, the stage version was a collaboration between Wright, the white dramatist Paul Green, and the director-producer team of Orson Welles and John Houseman. While Wright had previously advocated for Green’s ‘Negro folk’ dramas when he worked on the Chicago Negro Unit, the two men came to have conflicting views about Wright’s hero, Bigger Thomas. Wright captured their troubled collaboration in a seven-page drama entitled “The Problem of the Hero.”
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Demeter, Jason M. "African-American Shakespeares: Loving Blackness as Political Resistance." In Teaching Social Justice Through Shakespeare, 67–75. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474455589.003.0006.

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Can a Shakespeare course effectively historicize and challenge Shakespeare’s deployment in U.S. educational contexts “as an instrument of white racial consolidation and non-white marginalization”? Demeter offers a concise summary of Shakespeare’s positioning as the pinnacle of “universal” white, Western cultural values before detailing a course that combines Richard III, Henry IV Part I, and Othello with responses to Shakespeare’s works by black artists such as James Baldwin, August Wilson, Toni Morrison, and Djanet Sears. Though he hoped that placing African-American literature and Shakespeare “on equal footing” would provoke critical interrogations of Shakespeare’s privileged place in the literary canon, Demeter finds Shakespeare’s whiteness and universality difficult myths to dismantle, and offers his ambivalent experience as a way to frame key questions about the relation between Shakespeare pedagogy and social justice.
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Gonzalez, Aston. "Spectacular Activism." In Visualizing Equality, 107–44. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659961.003.0005.

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This chapter moves between the United States and England to analyze the antislavery moving panoramas exhibited by three black men—James Presley Ball, William Wells Brown, and Henry Box Brown. Following the moving panoramas of slavery that they toured to exhibit the horrors of enslavement and fund antislavery campaigns, this chapter situates the medium of the moving panorama as another popular media form that black activists used to advance their cause. As the visual medium regained popularity in England and the United States for its landscape views, these black men centered the experiences of enslaved people in their repurposed panoramas for the thousands of men, women, and children who viewed them. The reception of these popular panoramas demonstrated the educational and inspirational components of these works. Each of these three moving panorama purveyors implemented different business strategies to attract attendees and convince them of the authenticity and veracity of their antislavery works. Like the African American producers of other visual media, they drew on an established network of activists as they toured towns and cities in the service of the abolitionist cause. Records from these African American exhibitors, advertisements, and attendees reveal the complex process of encouraging viewer expectations, fashioning visual experiences, and interpreting the displayed information. Activists knew that the freedom of millions was at stake.
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Duane, Anna Mae. "“Can You Be Surprised at My Discouragement?”." In Warring for America. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631516.003.0010.

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This chapter explores the warring—and yet mutually constitutive—discourses of education and colonization through a particular focus on the New York African Free School (1787-1834), an institution designed by the New York Manumission Society to prepare black children for freedom. The school produced a remarkable roster of alumni, including Alexander Crummell, James McCune Smith, Henry Highland Garnet, Ira Aldridge, Patrick Reason and others. The development and curriculum of this school, when placed in context with early republican conversations about education, race and citizenship, provides a means of understanding how in the early decades of the nineteenth century, Enlightenment notions of a child’s malleability had become a means of determining whether non-white occupants of United States soil could be educated into citizenship, or whether they would have to be excised from the nation’s borders. Ultimately, this chapter attends to the conversations about black education that unfolded in the interplay between parents and administrators, and between students and the schoolwork those students were assigned, to better understand how and why colonization would emerge as the reigning antislavery philosophy during these years, and how African Americans engaged and eventually dismantled the racial logic underlying the American Colonization Society.
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"A Response to Traumatized Children: Developing a Best Practices Model: Yvette D. Hyter, PhD, CCC-SLP Ben Atchison, PhD, OTR James Henry, MSW, PhD Mark Sloane, DO Connie Black-Pond, MA, CSW, LPC." In Interprofessional Collaboration in Occupational Therapy, 116–43. Routledge, 2012. http://dx.doi.org/10.4324/9780203049426-10.

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Coit, Emily. "The Tenth Mind: Adams and the Action of the Remnant." In American Snobs, 162–95. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474475402.003.0006.

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Chapter 5 shows how Henry Adams's Education intervenes in a conversation about the agency of the educated elite amongst Harvard-affiliated thinkers including William James, Theodore Roosevelt, W.E.B. Du Bois, and Charles William Eliot. Identifying Du Bois as a New England liberal, the chapter notes that both he and Eliot call 'college-bred' men to duty and advocate for liberal education in a sincere, direct mode. Adams's Education opposes such arguments partly by being ironic. Observing that its celebrated ironies are crucially constituted by sincere statements from liberal thinkers, the chapter shows that The Education takes up words and ideas that are salient in Du Bois's Souls of Black Folk. Its ironic rewriting of elements from that text flamboyantly exercises (and thus consolidates) the power that belongs to its author. Disparaging action grounded in consensus, collectivity, and sincerity, which he associates derisively with Boston and Harvard, Adams advocates an alternate mode of action that inheres in irony, doubt, indirection, and individual disruptiveness. In enacting this mode, The Education demonstrates its formidable potency. But Adams's showy performance of power via inaction nevertheless becomes a key source for the twentieth-century narrative about impotently passive 'genteel' thinkers.
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