In Japan, people often refer to August 15, 1945 as the end of "that war." But the duration of "that war" remains vague. At times, it refers to the fifteen years of war in the Asia-Pacific. At others, it refers to an imagination of the century long struggle between the East and the West that characterized much of the 19th century. This latter dramatization in particular reinforces longstanding Eurocentric and Orientalist discourses about historical development that presume the non-West lacks historical agency. Nearly 75 years since the nominal end of the war, Japan’s "history problem" – a term invoking the nation’s inability to come to terms with its imperial past – persists throughout Asia today. Going beyond well-worn clichés about the state’s use and abuse of discourses of historical modernity, Koyama shows how the inability to confront the debris of empire is tethered to the deferral of agency to a hegemonic order centered on the United States. The present is thus a moment one stitched between the disavowal of responsibility on the one hand, and the necessity of becoming a proper subject of history on the other. Behind this seeming impasse lay questions about how to imagine the state as the subject of history in a postcolonial moment – after grand narratives, after patriotism, and after triumphalism.
In Japan, people often refer to August 15, 1945 as the end of "that war." But the duration of "that war" remains vague. At times, it refers to the fifteen years of war in the Asia-Pacific. At others, it refers to an imagination of the century long struggle between the East and the West that characterized much of the 19th century. This latter dramatization in particular reinforces longstanding Eurocentric and Orientalist discourses about historical development that presume the non-West lacks historical agency. Nearly 75 years since the nominal end of the war, Japan’s "history problem" – a term invoking the nation’s inability to come to terms with its imperial past – persists throughout Asia today. Going beyond well-worn clichés about the state’s use and abuse of discourses of historical modernity, Koyama shows how the inability to confront the debris of empire is tethered to the deferral of agency to a hegemonic order centered on the United States. The present is thus a moment one stitched between the disavowal of responsibility on the one hand, and the necessity of becoming a proper subject of history on the other. Behind this seeming impasse lay questions about how to imagine the state as the subject of history in a postcolonial moment – after grand narratives, after patriotism, and after triumphalism.
The ultimate illustrated guide for sourcing, processing and using wild clay. Potters around the world are taking to the local landscape to dig their own wild clay, discover its unique properties, and apply it to their craft. This guide is the ideal starting point for anyone – from novices, improvers and experts to educators and students – who wants to forge a closer bond between their art and their surroundings. Testing and trial and error are key to finding a material's best use, so the authors' tips, drawn from long experience in the US and Japan (but which can be applied to clays anywhere) provide an enviable head-start on this rewarding journey. A clay might be best suited to sculpture and tile bodies, throwing clay bodies, handbuilding and slab bodies, or simply be applied as a glaze or slip. The specific properties of found materials can create a diverse range of effects and surfaces, or, even when not fired, can be adapted for use as colorful pastels or pigments. Beautiful illustrations and helpful technical descriptions explain the formation of various clays; how to locate, collect and assess them; how to test their properties of shrinkage, water absorption, texture and plasticity; the best ways to test-fire them; and how to adapt a clay's characteristics by blending appropriate materials. From prospecting in the field to holding your finished product, there is helpful advice through every stage, and a gallery of work by international potters who have embraced the clays found around them.
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