mardi 21 juillet 2020

summer reading notes 6: tuck and yang

Eve Tuck: Associate Prof of Critical Race & Indigenous Studies at UToronto & works on education; indigenous Alaskan
K. Wayne Yang: Associate Prof, UC San Diego Ethnic studies, focuses on community/place and 'ghetto colonialism'. 

Link to the paper: here.

Tuck, Eve, and K. Wayne Yang, 'Decolonisation is not a metaphor', Decolonisation: Indigeneity, Education, and Society, 1:1 (2012), pp. 1-40.
  • Hegemony of settler-colonial framework
  • Superficial adoption of 'decolonise' into education and humanities - it is not interchangeable with any other social justice ideal
    • Erasure of indigenous people and history
    • "When metaphor enters decolonisation, it kills the very possibility of decolonisation; it recenters whiteness, it recenters theory, it extends innocence to the settler, it entertains a settler future." (3)
  • "Solidarity is an uneasy, reserved, and unsettled matter that neither reconciles present grievances nor forecloses future conflict." (3)
  • 2 main forms of colonialism: external (exogenous/exploitation) = the extraction of resources to feed First World; internal = within 'domestic' borders of imperial nation - control, policing, "both structural and interpersonal" (5)
    • Settler colonialism is both: total appropriation
      • Within settler colonisation, the most important thing is land
      • Involves disappearing indigenous and use of slavery (people without land whose bodies/selves are property, who can exploit the land)
      • Settlers are not immigrants: they become the law, but immigrants adapt/assimilate
  • "Each of the features of settler colonialism in the US context -- empire, settlement, and internal colony -- make it a site of contradictory decolonial desires." (8)
    • "Decolonisation as a metaphor allows people to equivocate" these (8)
  • Settler moves to innocence -- avoiding culpability
    • Eg claiming to have Native ancestry: misunderstanding of Native racialisation as subtractive, disappearing with each generation from 'authenticity'
  • "An anti-colonial critique is not the same as a decolonising framework: anticolonial critique often celebrates empowered postcolonial subjects who seize denied privileges from the metropole. This anti-to-post-colonial project doesn't strive to undo colonialism but rather to remake it and subvert it." (19)
  • Paulo Freire: Pedagogy of the Oppressed
    • Liberation found in the mind of the oppressed -- unlike Fanon, not specifically situated in colonial framework
    • "Fanon positions decolonisation as chaotic, an unclean break from a colonial condition that is already over-determined by the violence of the coloniser and unresolved in its possible futures." (20)
  • Decolonisation "is not converting Indigenous politics to a Western doctrine of liberation; it is not a philanthropic process of 'helping' the at-risk and suffering; it is not a generic term for struggle against oppressive conditions and outcomes. (...) Decolonisation specifically requires the repatriation of Indigenous land and life" (21) ie material demands
    • Curriculum reform is more like settler harm reduction/white harm reduction -- only a stopgap
  • Us-based calls for redistribution of wealth ignores the wealth/land originally belonged to Natives and isn't for giving away
    • eg Occupy movement
  • Settler moves to innocence = reconciliation ≠ decolonisation = guiding towards unsettling innocence
    • Incommensurability: we don't need to answer to/satisfy settlers. This is about Indigenous futures. 

dimanche 5 juillet 2020

update to blog format

by the way, to the handful of people who apparently still view my posts, I have updated my about page to be the following: 

this blog was never a way for me to vocalise fully-formed ideas and much more of a journal. but as of recent months/years, it has become much more of a place for me to write stuff down without losing it (i especially plan to continue to use it as a place to write down notes from readings i do outside of curricular frameworks). 

summer reading notes 5: edX japanese books 3/3 + degrowth

Module 3 - the Tale of Genji (c11)
  • Written by Lady Murasaki Shikibu and has appeared in every book format and reading experience available
  • Texts handwritten / copied until C17
    • Oldest surviving text is C12 (~100 years after Mursaki finished all 54 chapters) - elaborate calligraphy and art
      • Alternating text-image, symbiotic
    • Next oldest is c13: only 1 chapter - each chapter bound individually and kept in special cabinets
      • 6x6 inches when closed
      • Section binding (testuyoso) with string - easy to take apart and redo
      • Separate allowed easy lending/exchange/copy
      • Led to earliest examples of book cover design
      • Mulberry paper, decorated
        • Suhama (stylised sandbar) - yellow pigment
        • Suminagashi (flowing ink) - patterns of ink, marble-like
        • These pertain to chapter 12 set in Suma by the sea, sense of temporality (nostalgia), Buddhist idea of life as fleeting, incense smoke in temple = paperscape (worlds beneath script)
      • Calligraphy also affective
      • Intimate reading experience - immersive
Genji albums: individual leaves and paintings and excerpts from novel
  • Popular in early modern period
  • Lavish - for elite women as part of wedding trousseau
  • Oldest from 1510: 1 painting and text per chapter
    • By Tosa Mitsunobu, famous court artist and 6 prominent calligraphers
    • Warrior family in Western Japan interested in literature
    • Includes a post-C17 frontispiece painting showing lady M at the temple where she wrote the book, beginning in the back of a sutra with chapters 12-13 & inspired by the moon: welcomes reader into the tale
  • Using shikishi (colored papers/poem sheets) - square shape: 5 colors alternating in strict order
    • Resemble imported Chinese paper - C16 saw juxtapositions of CN/JP aesthetics
  • Aesthetics/form help convey atmosphere of scene
  • The album does not replace the novel - for readers already familiar
  • Leaves can be removed and pasted onto new formats, hanging scrolls, screens, new albums etc
    • Actually remounted in 1998 into 'accordion' style
First printed edition: c17
  • Previous printed works focused on Buddhism
  • Absence of true commercial publishing industry before 1600
  • Also issues with aesthetics of Genji calligraphy - difficult to translate into print
  • 1619 saw attempts to mimick brush writing in movable type - but woodblock printing was more practical and could include pictures
    • First woodblock Genji: 'Illustrated tale of Genji' (Eiri Genji Monogatari), 1650 Kyoto
      • Illustrations by Yamamoto Shunsho, 222 images that established seminal new iconography
      • Included commentaries, genealogy, poetry index, and sequel by another author -- comprehensive
  • Print allowed different versions of Genji to be introduced to much wider readership
  • Center of publishing world shifted to Edo and prospered in C18 - audience: townspeople and samurai
Inaka Genji (A Fraudulent Murasaki's Rustic Genji) - bestselling in c19, by Ryutei Tanehiko
  • Borrows structure, characters, and some lines to create new work, set in C15 Ashikaga shogunate
  • Draws on vernacular: ancient warrior tales, contemporary kabuki and joruri puppet theatre
  • Gory violence, twists
  • 76 volumes - serialised over 13 years (1829-42), until censored and Tanehiko died
    • Wasn't intended to be so long, but was very popular
  • Images by famous artist Utagawa Unisada 
    • Colorful
    • Karazuri (empty printing) - giving it an invisible texture that mimicks luxurious textile volumes owned by elite
    • Includes brown specks - mimicking gold decoration on paper
  • Imagining Edo-period woman author: Ofuji
    • Purple on her robe ('murasaki') links her to Murasaki - she is the fraudulent version of her real counterpart
  • Volumes are paired: 2 per chapter, 上 and 下, visually complementary on covers
  • Chapters 18-19 (4 vols) roughly correspond to original chapters 12-13 written first by Lady M: covers are connected
    • Motifs relating to season of chapters' publication - plum tree
  • Book bound using 'pouch binding' (fukurotoji) technique
  • Book format: gokan (combined booklets)
    • Booklets (maki/kan) bound together into 1 volume
      • Booklets = 5 folded pouches, 10 pages - standard size for books until 1807, known as kibyoshi 'yellow-backs''
      • Gokan = 2 kibyoshi, double
    • Development of book formats
  • Mikaeshi/mikaeshi-e: frontispiece (inner front cover) with bibliographic information, in a playful way
  • Introduction for each chapter in the voice of Tanehiko
  • Kuchi-e: frontispiece illustration, separated from text by frame (offset)
  • In the story proper, the text is crammed/wrapped around the illustrations, blank spaces 
    • Chapter 1 of Inaka Genji takes us through a building, much like 'tale of the rat'
    • Narrative's forward propelling resembles handscroll 'unrolling' experience
      • Sometimes illustrations play with handscroll, injecting it into the story
      • Aware of own status as a book - meta
        • Eg 'folding' a page in illustration
        • Addresses the reader
      • Theatre stage-like compositions: 3 dimensionality/trompe l'oeil
        • Character illustrations sometimes reference contemporary actors' ukiyo-e prints
        • Characters names indicated with medallion logo: visual symbols that exist outside narrative world (extra-diegetic)
          • Also small symbols to guide reader for text 
    • Interactions between images: telescope --> looing into the telescope represented by circle
      • New visual devices to play with perspective
      • Maximum potential for storytelling
------ 

Tyberg, Jamie, 'Unlearning: From Degrowth to Decolonisation', Rosa Luxemburg Stiftung New York Office (May 2020): http://www.rosalux-nyc.org/wp-content/files_mf/degrowthfinal.pdf
  • AOC's Green New Deal not entirely convincing: IPCC (2018) says we must radically transform to avoid climate catastrophe
    • Must start in the US: biggest consumer, least green
    • Need to remove military, police, and stop US imperialism
  • "A materialist approach, in the tradition of Epicurus and Marx, would interrogate the contradictions of infinite consumption of energy on a planet with finite resources" (4) 
    • Degrowth resists idea of 'infinite growth'
  • Degrowth is designed for arrivants and settlers (as opposed to indigenous)
  • Degrowth started as social critique, now a "fully - fledged alternative to it" (4)
  • Tiffany Lethabo King's The Black Shoals: Offshore Formations of Black and Native Studies calling for new ideas of society and new formulations of hte future
  • The end goal of degrowht (as a process of unlearning) as decolonisation
  • Sylvia Wynter: "nomadic or sedentary indigenous traditionally stateless societies" (Q5) like Masai, San, Pygmy as examples
  • Rejecting Western ideas of care work as gendered: "care is fundamental in supporting the mental, physical, and relational integrity of each and every human being and our ecosystems" (5-6)
    • Care-based economy
  • Autonomy vs. independence: A. as inherently collective (including collective restraint)
    • "argues against technological solutions to the crisis" (6)
  • Sufficiency: satisfy all human needs; redistribute surplus energy for community benefit
    • Need to unlearn individualism
  • Degrowth as new epistemology - rewriting our current institutionalised knowledge
  • Degrowth = care + autonomy + sufficiency
  • Mutual aid responses to Covid is good but inherently short-term (unsustainable)
  • Red Deal proposed by The Red Nation - 10 point program
  • Degrowth is "a set of practices".

vendredi 3 juillet 2020

summer reading notes 4 - edX japanese books 2

Module 2 introduction
  • Scroll format for illustrated narratives
    • Cinematic - temporal component which can be controlled by both reader (unrolling) and artist (pacing of narrative)
      • Including 'different time same scene' (iji dozu) where 2 different moments are shown side by side
  • Ko-e (short story small scrolls)
    • Tale of the Rat (Nezumi soshi) and Chrysanthemum Spirit (Kiku no sei monogatari)
    • Usually 15cm high (half size of standard scroll)
    • Text-image-text-image: condensed impact
    • Emerged in C14 but peaked C15-16
    • Illustrates a short story from a collection - anticipating a modern viewing/reading experience as individual engagement
      • Single protagonist, plot-driven, epiphanic ending
      • Didactic - for young readers as hobby
        • Lent out and exchanged among peers
Tale of the Rat (C16) - 3 paintings
  • Unroll so you only see 1 portion at a time - shoulder-width, held in hands
  • Fluid text - easy to read (kana and kanji)
    • Overlaps with painting section at the start - dreamlike introduction
    • Opens with gate illustration: beckons reader into another world
      • Poor household: no roof, dilapidated
  • Daughter of nun wants/needs to be married - makes a wish
  • Painting supplements text: extra information
    • Woman pounding cloth - allusion to noh theatre motif of woman beckoning for lost husband, full of longing = indicates theme
    • Sleeping dog = peaceful household
    • Straw mat = presages new visitor
  • Architecture plays important framing role for characters, themes, setting
    • Proscenium: stage set for story
  • Young courtier appears in front of daughter
  • Autumn scene: poetic
  • Section 2: Courtier continues visits, enriches household and provides luxurious objects, food, repairs
    • Frontal view of architecture = stability of household
  • Section 3: sequence showing revelation of cat eating rat, to the sadness of the women who feel that it is Karma/destiny
    • Temporal rhythm: slow/poetic intro --> dramatic ending, then moment of reflection (Buddhist: becoming aware of illusory nature of world)
    • Final scene's architecture is intimate, allowing visceral engagement
Comparing ko-e
  • Rat: text/image divided page by page, with professional art
  • Chrysanthemum: looser, calligraphy and art more fluid, uses juxtaposition of image/text
  • Both about women's encounters with non-human men - both didactic
    • Chrysanthemum is about imperial ideology and importance of perpetuating aristocratic lineage
The Chrysanthemum Spirit
  • Woman becomes lovers with spirit of the chrysanthemum but he is plucked for the emperor
    • Dies giving birth to their child, but daughter becomes consort to emperor and has prosperous children
  • In painting, flowers in garden are diverse and large, swaying
    • All important for evoking in poetry - primer for flowers for youths
  • No buildings - relationships told/visualised interpersonally
  • Metamorphosis of chrysanthemum spirit is evident visually to the reader, though the character does not know 
  • Birthing scene unusual as it actually shows baby emerging from her robe - more explicit, hints at didactic nature of scroll
  • Ends on a note of regeneration - descendants, perpetuation of imperial line/lineage in general.

mercredi 1 juillet 2020

summer reading notes 3 - edX class on japanese books 1

'Japanese books: from manuscript to print' - Melissa McCormick, Harvard 

Module 1 - Intro
  • Books interred inside the Buddhist sculpture of Prince Shotoku (Shotoku Shaishi, figure from C7 Japan)
    • Portrays him at age 2, when he stands up and pays homage to Budha, manifesting a relic (eyeball of Buddha) in hands
    • Sacred biography - miraculous events through his life = mythical presence
    • Thought to be a reincarnation of Buddha - very popular sculpture motif in C13
  • This sculpture - can be dated to 1292 by objects inside
    • Oldest of its kind
    • Much detail to make him childlike
    • Eyes are reflective - catch the light Gell - Art & Agency
      • = also an icon / iconic presence
        • Body would have glowed - pale/white with blue/green head
          • Now candle smoke darkens him afterlife of the object
    • Lotus seed in his hand - 'relic'
    • Sculpture split in half (wari hagi) to fit objects inside the cavity
      • Common practice among E-Asian Buddhist sculptures
      • This reminds me of a Buddhist statue that had internal 'organs' inside made of silk -- don't remember where I encountered it anymore!!! A temple in Japan maybe?? 
How the sculpture came to Boston
  • Purchased in 1930s by Ellery Sedgwick (editor of Atlantic magazine)
    • Sedgwick encountered it in a temple in 1930, came back looking for it in 1936 and hired a dealer to find it But how lol... sounds violent
    • Came to MFA Boston and curator found objects inside, 1937
Objects inside
  • Some in linen bags - but don't know how they might have all fit
  • 5 miniature sculptures, 1 shrine sculpture, 1 set of relic beads inside a scroll, then put in a bag and placed in belly
  • Aizen - religious king who burns passions/repels Mongol invaders - in chest (heart)
    • Important to monk Eizon (c13) who helped propagate the Shotoku cult
  • Pamphlets folded creased, unsure where in the body they were
  • Separate fragments of paper including ordination slips, depicting Chinese and Sanskrit characters
    • Slips given to people ordained as lay monks/nuns, who commit to following the Buddhist way
    • Highly personal - one is inscribed on the back with a personal vow
    • People wanted something of themselves inside the sculpture, carried through into future lives
    • Text as sacred, words sacred in themselves
    • Prints of Buddha: from Ippen (an itinerant monk who travelled across Japan and made Buddhism accessible)
  • Kamakura period (1185-1333): widespread interest in Shotoku
The scroll (kansusou)
  • Unrolled from right to left
  • Sheets of paper glued together - made of mulbery fibres (kozo), very soft, absorbant, light, thin
    • Writing bleeds through so you could annotate on the back and see this from the front -- unique to scroll
  • 'Shinnyokan': Contemplation of Suchness
    • Kanji and katakana
    • Personal copy - includes pronounciation notes for kanji
  • End of scroll has: date (1282), no mounting material (very informal)
  • No cover, unlike other highly sacred texts/scrolls (sutras)
    • Including migaeshi-e: picture appended to start of sutra
The pasted page (detchoso)
  • Small books made of dry, crispy paper: paper is ganpi fibre mixed with other materials like clay and vegetable fibres
  • Binding: folded paper glued together into pages
  • Writing on this object is 'kana': syllabic alphabet, phonetic, vernacular
    • Very personal
  • Range of formality in objects - some more like sutras, more ordered, with silk binding
  • Well-used: everyday devotion
Lotus Sutra
  • Hanging scroll from Heian period (794-1186): Lotus Sutra fragment cut out of scroll and mounted vertically
    • Patterned/ornamented paper: making surface sacred
    • Contains paintings in margins
  • Lotus Sutra text demands worship/veneration: rewards if you practice, punishment if not
Pocket binding
  • Papers folded and sewn at open edge, creating 'pockets' out of each page
    • Simple binding using twisted paper as 'string' = 'monk's binding'
    • Pockets prevented ink bleeds from showing due to double layer
      • Could also hide/contain extra sheets of paper
Accordion style book
  • Paper folded into multiple sections - small and compact
  • The book in the Shotoku sculpture was given to Library of Congress so looking at a similar one: an accordion Lotus Sutra remounted as 8 scrolls: lavish, elaborate
    • Woodblock printed in China (1160) then imported to Japan - Pan-Asian bookmaking tradition
    • Includes illustration of Hell, where you would go if you disobeyed Sutra: transformed into animals, beaten
    • Accordion creases can still be seen - damage, helped by new scroll format
  • Only Buddhist books were woodblock printed in Japan until C17
End of module 1