Bodies and StructuresMain MenuWhat We're DoingOverview essayHow to Use This SiteAn orientationModulesList of modulesTag MapConceptual indexComplete Grid VisualizationGrid Visualization of Bodies and StructuresGeotagged MapGeographic IndexWhat We LearnedContributors share what they learned through the Bodies and Structures process.ReferencesReferences tag for all modules and essayContributorsContributor BiosAcknowledgementsAcknowledgementsContact usContact information pageLicensing and ImagesThe original content of this site is licensed under a Creative Commons BY-NC-ND International 4.0 License.Kate McDonald306bb1134bc892ab2ada669bed7aecb100ef7d5fDavid Ambaras1337d6b66b25164b57abc529e56445d238145277 This publication is hosted on resources provided by the College of Humanities and Social Sciences IT department at NC State University.
12018-07-15T20:37:01-04:00David Ambaras1337d6b66b25164b57abc529e56445d23814527724plain2018-08-31T16:33:00-04:00David R. AmbarasDavid Ambaras1337d6b66b25164b57abc529e56445d238145277We can say more: The story of Ogura Nobu (and Chen Zhaopin, though he is even more silent/silenced than she), highlights the need to explore the material and discursive experiences of border crossing and mobility, and the contextualized histories of the bodies that move. For example, part of a deep map of this subject would have to extend to the materiality of the route, including the third-class passage on the ferry that carried Ogura Nobu and Chen Zhaopin to Shanghai (while more elite, or more carefree, passengers enjoyed NYK's posh amenities and the lifestyle they advertised on the upper deck),as well as the network of Chinese lodging houses, coastal steamers, and overland transport that conveyed migrants between Shanghai and Fuqing.It would also have to capture the careful preparation of stories, the altering of appearances (Ogura Nobu was hardly the only woman to try to pass as a Chinese for the journey), the tension and apprehension accompanying checkpoint interviews, and so on. Mobilities research must attend to factors such as ethnicity, gender, class, age, place of origin, household structure, and prior experiences and future expectations — not mention the contingent political conditions — under which such movement was undertaken. Moving bodies took shape as products of social processes (what Leslie Adelson calls embodiment, the “making and doing the work of bodies” and “becoming a body in social space”).
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1media/Nagasakimaru.NYK.Shanghaiwharf.jpg2018-04-23T13:40:19-04:00CHASS Web Resources398fc684681798c72f46b5d25a298734565e6eb8Women in motionDavid Ambaras9image_header1082018-09-06T17:07:55-04:00David R. AmbarasDavid Ambaras1337d6b66b25164b57abc529e56445d238145277
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12018-07-05T20:59:32-04:00Nagasaki-maru postcard4Postcard for N.Y.K. Line S.S. Nagasaki Maru. Artist unknown, Japanese. Leonard A. Lauder Collection of Japanese Postcards, Museum of Fine Arts, Boston.media/NagasakiMaru_MFA.jpgplain2018-09-07T14:40:16-04:00
12018-07-11T21:01:55-04:00Nagasaki-maru dining saloon postcard3Postcard advertising the "First Class Dining Saloon" on the N.Y.K.'s twin ships Nagasaki-maru and Shanghai-marumedia/Nagasakimaru_dining_postcard.jpgplain2018-07-11T21:05:13-04:00
12018-07-10T15:38:45-04:00Travel to Gaoshan from Fuzhou1Fuzhou Consul Tamura on overland and maritime routes to remote Gaoshan from Fuzhou (1929-04 report)media/FuqingGaoshanTravel_ConsularReport_1929-04-10.jpgplain2018-07-10T15:38:45-04:0025.47612, 119.56441