By Timothy Brook
From the writer of the award-winning Vermeer's Hat, a old detective tale deciphering a long-forgotten hyperlink among 17th century Europe and China.
Timothy Brook's award-winning Vermeer's Hat spread out the early historical past of globalization, utilizing Vermeer's work to teach how gadgets like beaver hats and porcelain bowls started to movement around the globe. Now he plumbs the secret of a unmarried artifact that gives new insights into worldwide connections centuries old.
In 2009, a unprecedented map of China used to be found in Oxford's Bodleian Library-where it had first been deposited 350 years ahead of, then stowed and forgotten for almost a century. Neither historians of China nor cartography specialists had ever noticeable whatever love it. It was once so extraordinary that specialists could have declared it a fake-yet documents proven it were dropped at Oxford in 1659. The "Selden Map, because it is understood, was once a puzzle that wanting solving.
Brook, a historian of China, got down to discover the riddle. His research will lead readers round this stylish, enigmatic murals, and from the guts of China, through the Southern Ocean, to the court docket of King James II. within the tale of Selden's map, he unearths for us the fantastic hyperlinks among an English pupil and retailers part a global away, and provides novel insights into the ability and that means unmarried map can carry. Brook can provide an identical anecdote-rich narrative, exciting characters, and unforeseen ancient connections that made Vermeer's Hat an fast classic.
Note: has stronger pictures, which for a e-book approximately maps turns out to be useful, somewhat greater formatting, greater navigation for instance to discover photos, although it truly is lacking the index from the home of Anansi Press edition.
Read or Download Mr. Selden's Map of China: Decoding the Secrets of a Vanished Cartographer PDF
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Extra resources for Mr. Selden's Map of China: Decoding the Secrets of a Vanished Cartographer
Sample text
Wenyipian, "literary arts" film) to the "masculine" swordplay and action genres. KINNIA YAU S H U K - T I N G THE POSTWAR JAPANESE ACTION CINEMA In contrast, a golden age of chanbara emerged in Japan between the mid-1950s and the mid-1960s. 6 This edict necessarily eliminated the whole genre of chanbara and encouraged the production of Meiji-mono (stories with settings in the Meiji period) and films of contemporary life. Under these circumstances, notable chanbara stars such as Tsumasaburo Banto, Chieizo Kataoka, Utaemon Ichikawa and Kanjuro Arashi had to change their screen personae from swordsmen to gunfighters.
An answer shared by the troupes was: self-enrichment through absorbing the strong points of the competitors. " The question that immediately follows is: what did they learn? In the mid 1930s, Sit Kok-sin began his project of staging the "Four Classical Beauties of China". In 1938, his fuexiansheng Theatre Troupe staged Diao Chan (The Beauty Diao Chan) at the Hong Kong Lee Theatre. In an advertisement from the newspaper Huaqiao Daily, which promoted this new piece, we find the following passage: YUNG SAI-SHING Dedicated to presenting Chinese operatic art in pure form, our troupe originally did not favor fanciful sets.
Henceforth this body would hold the annual Asian Film Festival, and Festival participants were member countries or regions of the Association, including Hong Kong, Japan, Singapore, Malaysia, the Philippines, Korea, Thailand, Taiwan and South Vietnam. Film company executives from all these countries would meet during the festival, talk shop and make production and distribution deals. Given the growing awareness of Japanese cinema around the world after Daiei's Rashomon (Akira Kurosawa 1950) won the Golden Lion Award at the Venice International Film Festival in 1951, film distributors were more confident in exporting Japanese movies to Hong Kong, Taiwan and Southeast Asia.