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Since the Titanic vanished beneath the frigid waters of the North Atlantic 85 years ago, nothing in the hundreds of books and films about the ship has ever hinted at a connection to Japan -- until now. Director James Cameron’s ’200 million epic Titanic premiered at the Tokyo International Fihn Festival last Saturday. Among the audience for a glimpse of Hollywood’s costliest film ever descendants of the liner’s only Japanese survivor. The newly rediscovered diary of Masabumix Hosono has Titanic enthusiasts in a frenzy, the document is scrawled in 4,300 Japanese character on a rare piece of RMS Titanic stationery. Written as the Japanese bureaucrat steamed to safety in New York aboard the ocean liner Carpathia, which rescued 706 survivors, the account and other documents released by his grandchildren last week offer a fresh -- and poignant -- reminder of the emotional wreckage left by the tragedy. Hosono, then 42 and an official at Japan’s Transportation Ministry, was studying railway networks in Europe. He boarded the Titanic in Southampton, en route home via the US. According to Hosono’s account, he was awakened by a loud knock on the door of his second - class deck with the steerage passengers. Hosono tried to race back upstairs, but a sailor blocked his way. The Japanese feigned ignorance and pushed past. He arrived on deck to find lifeboats being lowered into darkness, flares bursting over the ship and an eerie human silence. He wrote:" Not a single passenger would howl or scream." Yet Hosono was screaming inside. Women were being taken to lifeboats and men held back at gunpoint. "I tried to prepare myself for the last moment with no agitation, making up my mind not to do any- thing disgraceful as a Japanese," he wrote. "But still I found myself looking for and waiting for any possible chance of survival." Then an officer shouted, "Room for two more " Hosono recalled:" I myself was deep in desolate thought that I would no more be able to see my beloved wife and children." Then he jumped into the boat. When Hosono arrived in Tokyo two months later, he was met with suspicion that he had survived at someone else’s expense. The culture of shame was especially strong in prewar Japan. In the face of rumors and bad press, Hosono was dismissed from his post in 1914. He worked at the office part -time until retiring in 1923. His grandchildren say he never mentioned tile Titanic again before his death in 1939. Even then, shame continued to haunt the family. In newspapers, letters and even a school textbook, Hosono was denounced as a disgrace to Japan. Reader’s Digest reopened the wound in 1956 with an a- bridged Japanese version of Walter Load’s best seller. A Night to remember, which described , Anglo - Saxons" as acting bravely on the Titanic, while "Frenchmen, Italians, Americans, Japanese and Chinese were disgraceful." Citing his father’s diary, one of Hosono’s sons, Hideo, launched a letter -writing campaign to restore the family name. But nobody in Japan seemed to care. The diary resurfaced last summer. A representative for a US foundation that plans to hold an exhibition of Titanic artifacts in Japan next August found Hosono’s name on a passenger list. A search led him to Ha-ruomix Hosono, a well- known composer, and to his cousin Yuruoi, Hideo’s daughter. She revealed that she had her grandfather’s dairy as well as a collection of his letters and postcards. "I was floored," says Mixchael Findley, cofounder of the Titanic International Society in the US "This is a fantastic, fresh new look at the sinking and the only one written on Titanic stationery immediately after the disaster." The information allows enthusiasts to rearrange some historical minutes, such as which lifeboat Hosono jumped into. More chilling, the account confirms that the crew tried to keep foreigners and third - class passengers on the ship’s lower deck, effectively ensuring their name. Tile diary cannot correct injustice, but Hosono’s family hopes it will help clear his name2 The Titanic foundation also hopes to capitalize on the diary and the movie to promote its upcoming exhibition. To that end, Haruomix Hosono, the composer, has been asked to give a talk at next month’s public premiere of Titanic! The diary cannot, of course, match Cameron’s fictionalized epic for drama and intrigue. But at least Masabumix Hosono’s tale really happened. Why was Masabumix denounced as a disgrace to Japan
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According to the news, the original list of wonders was concentrated in the Mediterranean and ______.
A quarter century ago, the sensation of the season was the children’s book Masquerade, by British artist Kit Williams. This story of a hare’s quest to deliver a message between moon and sun incorporated dazzlingly archetypal illustrations and bits of many myths collapsed into the inscriptions framing the fifteen pictures. Masquerade became a media event because it presented in code the location of a golden hare sculpture Williams had buried. Once revealed, the code was disappointingly simple: "To solve the hidden riddle you must use your eyes," the book’s opening words, meant that eyes in the paintings pointed to words in the margins. The dazzling imagery was only filler, albeit hauntingly mysterious filler. Sensitive readers still felt that the visual mystery had to have meant more than this literal mapping. An equally unanticipated publishing phenomenon, Dan Brown’s novel The Da Vinci Code, suggests that already existing buildings and works of art, some of them famous, are codes conveying a specific message. Once again, the public longs for implications deeper than those borne out by the text. This time, debate centers on whether those implications might actually be there. After two years at the top of the lists, Brown’s bestseller spawned a late-2004 "Special Illustrated Edition" featuring color photos of the artworks and architecture mentioned in its pages. For Brown’s "symbologist" hero, works of art and architecture hold genuine clues to unsuspected mysteries, and Brown’s readers have wanted to see the works his novel so fragmentarily describes. The illustrated edition gratifies their wishes and, of course, increases sales. The novel’s main source of popular fascination is its combination of thrillerdom with the supposed revelation that early Christianity suppressed secrets of sacred femininity. The Catholic Church would seek to keep these secrets suppressed for political reasons, while esoteric societies like the Priory of Sion seek to reveal them, also for political reasons. What is of interest in our context is the ancillary aspect, the use of the interpretation of the painting -The Last Supper by Leonardo da Vinci -to advance the plot leading to this revelation. In one sense, The Da Vinci Code is the heretical flip side of the national obsession with fact-based faith, the opposite half of the impulse that made Mel Gibson’s The Passion of the Christ a movie-going phenomenon. At bottom, America’s historic mix of Enlightenment with radical Reformation encourages Americans to expect "just the facts," and to believe that facts are ultimately unambiguous. As Michelle Cottle notes in the March 20th issue of The New York Times, " depending on which poll you consult, between one third and one half of Americans identify themselves as biblical literalists. " It scarcely requires Vincent Crapanzano’s anthropological investigation to puzzle out the impact of this on the other half of Americans. Prefacing his novel with a capitalized declaration of "FACT," Brown uses mystery-novel conventions to assert an alternate religious history in which hard facts lie behind emotionally gripping symbols. The idea that symbols simply conceal facts has become a popular obsession; the same books -Michael Baigent and Richard Leigh’s 1982 Holy Blood, Holy Grail and Christopher Knight and Robert Lomas’ 1997 The Hiram Key -both inspired Brown’s trilogy-in-progress and fueled the brief but explosive success of the film National Treasure’s Disneyfication of hidden spiritual histories. In practice, archaic connections between the symbolic and the real persist in such issues as flag desecration, claiming for national emblems a sanctity reserved in other cultures for purely religious ones. Religious symbols have generated passions of their own. when latterday Catholic Andres Serrano combined religious statuary with body fluids, the confusion of symbol with fact returned with a vengeance. In art as in everything else, Americans show a perennial preference for symbols synonymous with daily reality. Norman Rockwell’s paintings are shorthand for complex social relations, but Americans love him, not for this, but because his well-composed sentimentality allows the belief that he’s just showing "the way things are. " Pop culture also misreads Andy Warhol as a hipper version of Rockwell, another purveyor of unambiguous surfaces. In a way, The Da Vinci Code embodies a Rockwellian approach to art gussied up in gorgeously mysterious trappings. Art can’t possibly be a place where contradictory possibilities collide; it must mean only one thing, although cash or prestige value can come into play alongside meaning. Despite wide-ranging interests, Dan Brown represents the presuppositions of most Americans. He doesn’t present the intellectual universe his Harvard-based hero would inhabit; Brown’s protagonist Robert Langdon uses symbols to solve puzzles, but not in the way scholarship actually works. However, this fictionalized scholarship has led many readers to look at works of art as something more than incidental decoration. That in itself is an advance in terms of popular awareness of the uses of the visual. Thus it might seem to be an excellent time to initiate the public to the more ambiguous uses of symbolism, were it not that The Da Vinci Code is largely impervious to such ambiguities. According to the passage, how to decode the information embedded in Masquerade about the location of the golden hare
The campaign to name ______ was started in 1999 with nearly 200 nominations.
The role of and treatment of the housewife, which is really the major bone of contention in social security reform, has, of course, a major place in feminist thought. Betty Friedan’s book, The Feminine Mystique, which was influential in initiating the current wave of feminism in the United States, centered on the disadvantages to women of assuming the housewife’s role. All feminists believe that women should not be forced into assuming it, and that alternative choices should be available. Many feminists, such as the present writer, go further and believe that the disadvantages of the role of housewife are so great that it would be better if younger women were to avoid entering the role even temporarily and if the "option" to assume the role were to disappear. There is a second strand of feminist thought concerning housewives, which derives from the solidarity which feminists feel with all women, housewives included. This solidarity expresses itself in a concern to alleviate injuries (physical and psychological as well as financial) inflicted on housewives by their husbands and by the institutions of society. This second strand is not logically contradictory to the first; it is possible to love the sinner (the housewife herself) while hating the sin (playing the role). Nevertheless, the two strands do tend to cut different ways in terms of policy. Moreover, individual, feminist thinkers differ in the emphasis they place on each. These two strands of feminist thought inspire two kinds of complaints against the social security system -- that some housewives are treated too well and that some housewives are treated not well enough. The housewives who are treated too well are those married to retired men, who are enabled by the system to live at a higher standard than retired working wives whose family had comparable total covered earnings. The housewives who are treated not well enough are those whose dignity is scanted by treatment as a dependent, or those whose marriages end, and whose husbands retain all rights to social security (and private pensions) earned during the marriage. The solidarity-with-housewives strand of feminist thought results in attitudes which emphasize the housewife’s productiveness and give dignity to the position of housewife. It results in policy suggestions which would have the effect of making the woman who becomes and remains a housewife safer, more comfortable, less subject to financial shipwreck, more able to hold up her head as a productive member of society. The most characteristic product of this line of thought is the suggestion that housewives be awarded social security credits for the homemaking work they do. Some credit schemes would require the household to pay taxes in return for the credit; others would not. One merit of homemaker credits in the eyes of the solidarity-with-housewives advocates is that it makes housework and "paid work’ more alike, thereby raising the status of housework psychologically and financially. A second merit, of course, is that in the case of divorce the homemaker would keep her credits, and thus would be more financially independent that is the case now. The author advocates that women ______.
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