SG 020: Unter fremder Sonne (STAR GATE - das Original) (German Edition)

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At The Shore 6: Limited to copies. First collaboration between Asmus Tietchens and drummer Jon Mueller. Recorded by Mars F. Limited edition of copies, CD in full colour paper sleeve. It features one ongoing stream of grey, heavy and disturbing noises. It contains blocks of solid and almost material sounds, causing a physicality and urgency to the "music" which is rare to find these days.

He studied music and composition for many different teachers and composers in Poland, Sweden, France and Netherlands. Karkowski has presented his work in more then 30 countries on nearly all continents. He is convinced that it is a responsibility of an artist in present time to travel and move and work around the World in order to learn and understand different cultures and traditions and discover truth about us and our planet. He also strongly believes that geographical, political and social exile is a necessary condition for true creation. And true creation is the only act that really matters.

Since he is based in Tokyo - Japan where he collaborates closely with japanese underground noise- and experimental artists. He is not interested in traditional definition of what is music, in his opinion all theory and systems of music as a cultural concepts have to be destroy ed. So in his latest work his main concern is on realizing drama with sound electronic and acoustic walls with scores based on architectures of ruins.

Directs his own ensemble which does not have a name, and is made up of musicians who have the same musical preoccupations - rupture. Has definitively integrated the computer into the very heart of his work, as a tool of thought and composition, and as a live instrument, hybridising more traditional instruments if necessary, or working on the sheer electronic noise.

Limited edition of copies, handnumbered sleeve. Second collaborative effort between german sound manipulation pioneer Asmus Tietchens and american improv-drummer Jon Mueller. The CD features 8 tracks that run up to 53 minutes. Jon Mueller on the second collaboration: The performance of the percussion material was from various non-mechanical techniques striking, swinging gongs, extended techniques, etc.

Sg 020: Unter Fremder Sonne by Wilfried a Hary (Paperback / softback, 2014)

The completeness that is Acht Stuecke is of breathtaking beauty and simplicity and complexity at the same time. It emanates a warm and deep sound evolving out of total soundless blankness as it seems. Feldaufnahmen I is the first release in a series of pure filed recordings by german multi-disciplinary experimental group Column One.

The 12 recordings where collected in east Germany in the Polenztal within the mountain range called Elbsandsteingebirge in with the simplest equipment. The recordings where edited and rearranged by Robert Schalinski in Berlin in Feldaufnahmen I is a new phase for Column One who have continued to change and evolve in their musical career. The group was renowned for post-industrial atmospheres, media collages and cut-up dadaist humor now they enter the terrain of sound ecology with their own twist.

The 12 pieces on the disc radiate with beauty - they demonstrate the full spectrum of sounds that can be found in any relatively quiet natural resort: The 16 pages booklet presents full colour reproductions of photographs taken by Column One in the area where the sounds were recorded.

Les Insectes I 4: Les Insectes II 1: Les Insectes III 2: Double DVD release documneting a sound and video installtion done by Marc Behrens in , dealing with the sounds, images and people of one specific urban area in Cologne, Germany. Synthetische Mischgewebe, Das "Neunundvierzig Entgleisungen" 2x 10inch Great collaborative effort presenting a mixture of subtle wildlife field recordings, beautifully swelling drones, electroacoustic passages and amplified silences.

Comes in a nice full colour digipak designed by Pierre Redon. Pierre Redon - Printemps Toy Bizarre - Automne - kdi dctb [e] Pierre Redon - Hiver This double disc set includes some of the most unusual sounds you will have heard from Carl Michael von Hausswolff. The story goes like this.

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His classic sound combining low frequency rumblings, very monotonous oscillations and hissy non-narrative sequences was deemed too confusing for the commutors. This music can now be heard for the first time on disc 1. These only make use of the very basic pre-set industry sounds included in the Yamaha QY22 and show a new side to the von Hausswolff sound.

Very simple, post-nuclear lounge music. These four tracks — you guessed it! Art is a three-letter word William S. Not Accepted Music 1. Perhaps I Arrive Released for the European tour Two mysterious soundscapes featuring the CoC trademarks of rumbling ambient noises and distant voices. Newly added is a distorted beat boxc rhythm in the fore.

Heartbeats of Mating Galaxies Another must have not only for Multer fans. A Youth Sky A2. Moth In A Stargate B3. Comes in a special octagon shaped cardboard covers including an 6 panel textured cardboard sleeve. Comes in an 6 panel cardboard covers with astounding silver-coloured drawings.

A barbarous, sonic paradox suggesting the subtle arousal of the ancestry in flesh, a work both soothing and threatening to the intuitive mind. Gate Of All Directions 7: Green Spring Ferocity 6: Skinning The Skies 4: The Immediate Body Drama 6: The Phantom Root 8: The Copulation Of Mirrors 7: The very first part of the Aural Holograms series incorporates various call and response patterns manifesting vibrating, subtle energies, all of which have been accurately divided into separate rhythmic dimensions and time-shifting aural tapestries. The overall experience - i. Comes in six-panel hand finished cardboard booklet, in an edition of 1.

Before The Great Stone 8: Beyond The Black Deep Igor Krutogolov "White" CD released with: This work apply mostly to minimalist and romantic consonances which are filling the air. Amazing soundscape as could be expected from this unique and unpredictable artist. White VII Cardstock gatefold sleeve with booklet insert. LP features 8 longs tracks of pure mental disease from the middle of nowhere. A sort of sick mix between Giorgio Moroder italo disco, the paranoid minimal wave performed by Suicide and the early Cabaret Voltaire.

Viol Et Revanche A2. Ray Ov Gold A3. Fugue De Pute Mineure B3. Not dark and not too aggressive - but full of energy! Juli Zur Zeit wohl eins der besten Fanzines in Deutschland! Beck - Das Pop-Analphabet: Testcard 15 And a lot of reviews…. Compositions using Field Recordings collected in London: Great stuff frum the well known artist. A Final Gesture Of Disgust Only One Outcome Absurdist Training Day No More Heroes Allun "Onussen" CD released with: One-Touch Recordings Monopolka Very great band from Italia! Assenza Di Ativarg Allun Dai Capelli Rossi Il Chiodo Rosso Christian Rainer is an artist in the round visual arts, music, etc He composed this sublime chamber music cd, melting, epic, majestic in its piano, strings, voice and winds arrangements.

The human and artistic partneship between OVO and Rollerball, sealed by 3 tours made together, goes on with this split cd featuring 9 tracks where OvO play with Rollerball mambers and 7 tracks where Rollerball duet with some hot names of NorthWestern American avantgarde. OVO - Demon Paw Rollerball - Hiperspasm OVO - Walker OVO - Hagakure Rollerball - Brighton Rollerball - Until Yesterday OVO - Midnight Cowboy Rollerball - Fallout Rollerball - Pig Fucker OVO - Bear 13 Rollerball - Jacopoism OVO - Estragon OVO - Castle Everyday Rollerball - White Elefant Rollerball - Peter Pipers Brother An electronic track by Null and two experimental-freejazz-noiserock by OVO.

MP3 is a cut up from both artists. Alos "Ricordi Indelebili" CD released with: The first album by? Tremor - Outro B1. Comes in thick fullcolour "book-bound" gatefold cover with fullcolour innersleeve. After a viscerally present launch cycle, the Voyager Nurse Module is designed to be piloted by the out-of-body listener. With Lilith-like subtlety, the concrete powered craft makes its way ever closer to the edge of the galaxy.

Whichever it is, Vaclav Helhybel Outer Space: Music and Frank Perry Deep Peace are there, waiting to celebrate the space escapade with chilled cocktails and green friends. Current 93 were, for the original Moonsongs: Comes in in a full color deluxe gatefold book bound CD case. Usque Sumus Lux 8: Individually Liles and Menche have torn the experimental world many new ones, but as a unit they achieve a critical mass so monumental that they deserve their own Hollywood-style canoodling name.

A vicious, celestial-cathedral rumble gapes its maw and spews forth into a sluggish river of electro-magma, reshaping landscapes once carved out by Cremaster Cycles and the gravitational forces of the planet Solaris. And just before cowboy-robot-gone-mad Yul Brynner shows up to kill all humans, the piano slinks away to make room for the buzzing progeny of the flies, whose crescendo of wing-beats quietly, subtly rises and rises the swarm to Jupiter and beyond the infinite. After multiple listens a Xen akis —like state is realized and there should be a giant Star Fly-Child in your living room.

Harsh Reality Music You Just Gotta A2. Recycled sounds from the Vance archives. Faded Memories Part Cold Innocent Landscape A1 - Hi Peace Light 4: The current computermusic compact disc of Elektronengehirn, full with new unreleased electro-acoustic compositions from the years to Schwebungen Satz 1 Und 2 8: Eckhard Remix by Jetzmann A2. Vorstoss Remix by Xyramat B2. Meets Automatenmusik Remix by Intrauterin Alliance. This is the live-document of their North American tour.

Justice Yeldham - Keep Daddy Safe Dave Phillips - Freedom Isn't Free Cool split of 2 projects of Anton Kaun. Sonytony - Aur Kaun? Sonytony - Heartbrake 0: Sonytony - Puking Like A Volcano 0: Sonytony - Act Like Gastropods!!! Sonytony - Flowerpowerviolence 0: Rumpeln - Unruhestiftung 3: Auf dem Seil Mein Herz geht vor die Hunde All tracks played by DEUF with saxophones, metal objects, analogue synthesizers, tape recorders, voice and effects Tracklisting: Improvisation pour syllabes et saxophones.

Step in the old house. Mein Herz loves Schubert. All tracks played by DEUF with electronic equipment, computer, hairdryer and voices. Performance at Goethe Institute. Springende Kiesel auf dem Wasser DW mittelfuss 23 A harsh noise room recording. Connors 5 Cinema For M. Morley 6 Quantum Breakdown For K. Signals were generated with a synthesizer, combined through an effects processor which fed the signals back into itself. Also, recording signals for ADAT recorders were fed through a mixing board, processor and then back then back into itself therefore creating a loop.

All of the sounds on this recording were generated in real time and were only manipulated to combine tones. There is no signal processing outside of the real time system. This is recording from a show at Christ Church in Rochester NY, which features Joe on solo guitar and later, feedback and piano. Packaged in hand-silkscreened cardboard cover. A Noise track by C. Vollmer and an Industrial track by Irikarah.

Carsten Vollmer - Poder Peat 22 6: Irikarah - Lovely Geisha 6: Two great Noise tracks with the same title. Carsten Vollmer - Urban Predator Implosion - Stiller Raeuber 9: Implosion - Ein Einsamer Ort 5: Both artists gave their best for this split. This short little 3" cdr is a split between The Infant Cycle and Jared Davison, both of whom seem to have been making music for awhile now. This disc is apparently the first in a series of 3" discs released by The Ceiling called periodicals, which will feature The Infant Cycle and other artists in the Ontario area.

According to the press release, these discs are intended to be viewed as a kind of snapshot into the projects, or a newspaper entry of a piece of that particular artist. Interesting to say the least. Though the disc only has a time span of 11 minutes there is a lot of sounds explored here. For the most part both of the tracks here could be described as experimental with glitchy and ambient tendencies, but that description really does not do either track justice.

The Infant Cycle have the first track here, titled "unrelated work tapes". The song is apparently somewhat of a re-working of previous materials from the project, and it mainly revolves around a set of clicks and nefarious drones. The clicks are somewhat reminiscent of Tin. The drones vary from light to dark tones, with the only constant really being the presence of clicks.

The Jared Davison track "Phonography" is somewhat in the same vein with itcold and dark ambient drones, but it is far more rhythmic, and a little bit more active. This track is supposed to composed solely of surface noise from vinyl records, but either Mr. Davison is lying, some very serious manipulation was going on, or he happened to be using a vinyl recording from an ambient record. Hard Rhythm Industrial with a very aggressive sound! Mama Baer - Perverse Leute Maedchenficker 3. Mama Baer - Perverse Leute Maedchenficker 4. Blood Stereo - Kenna-What 6. Shatterer Of Earth A2. Pain In Progress A3.

Deathkomh Previously Unreleased B1. Heart Of Stone B5. Meat Improvement Video Version. Very beautiful picturedisc from the swedish project. Limited edition of copies. In Two Minds Fungus Version 6: Limited to copies on white vinyl.

Hz - Introduction A2. Der Kampf Geht Weiter B1. One of the records in my collection I like most! Each side one band: Wild Noise attack by Jason Campbell from Canada. Humans Shall Die 3. Blood Upon The Altar 6. Communion With Christ CD 2: Clinic Of Death 3. Audio Torture Terror 4.

Spiel dich selbst 3. Between You And Me 5. Very nice stuff from Patrizia Oliva. Experimental Techno from Germany. West in Space Little Green Man 3: Bar La Muerte 5. Holeist - Soileth A2. Holeist - shelteredine A3. Holeist - Hazur A4. Holeist - Stahlmesser B1. It was music which with deep consequence searched out the border between sound and silence, never choosing the easiest way out. UNSK show with their music that loud volume is not needed to create the feeling of immediacy and urgency among its listeners. Ute Wassermann voice Birgit Ulher trumpet Kunststoff strikes a unique balance between a mostly undemonstrative exterior and a subtle and sophisticated inner energy.

The structures of these ten pieces are improvised freely but each with an intense concentration on a musical centre of gravity which shifts from one piece to the next. The result has as little to do with jazz as with the current trend towards - reductionism - in improvised music and is a document of an inspired collaboration. First solo release of Birgit Uhler. Minimal trumpet improvisations with sounds you never heard from another trumpet player. Silence is a important part of her music. In the soundsample we made this breaks shorter for you, because we think silence is not so good for a example of the music of a release Copper Scatter 1 5: Copper Scatter 2 4: Konzentrat Edited Version 1: Modern Free Jazz by the known Birgit Ulher: The Idle Class Welt Am Draht 7: The Third Man 9: Abstract Minimal Noise from Vienna on a Portugal based label.

Schon halb verwest Gespenster und Lippenstift, ein komplettes Drama Cleaning My Graves II Cleaning My Graves I Walk With A Limp Second Hand Monster To Do What You Want How To Cook A Wienerschnitzl La Toilette Intime Wild Boar Baby Kangaroos In Poland The Chinese Way Kingkong Meets Frankenstein Includes the hit "Pips Pips Brumm"!

Second part of the collection of the band. Incloude live recordings and the song "Boys donCry". Dedicated To The Addams Family 2. Never Ending - Kevin Coyne 7. Wollybrain - Sleep Suite 6: Between Narrow Rooms 4.

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Stille Nacht kalte Nacht 3: Die industrielle Hausfrau 4: Ich bin ein kleines Kind 4: Der Himmel ist blutrot 3: Nur ein Blick in deine blauen Augen 4: Sex Macht Ohnmacht 2: Das schwarze Todeslicht 6: Collaboration with Nauze Muzick. Filsinger remixed by Tarkatak and one of Tarkatak remixt by F. Filsinger remixed by Tarkatak and one of Tarkatak remixed by F. Filsinger remixed by Tarkatak lim. Lutz Pruditsch Tarkatak and Frank Rowenta together.

Released in cooperation between Jeans Records and Dachstuhl. Orion und Kassiopeia Kabul und Kathmandu in Indien Poetry And Violence 7. Because of the interest in Last Few Days, they sat down and waded through hours of tape slimming it down to around 24 hours. On a blisteringly hot day in June , K Warhead and S Gross from Last Few Days sat in a small box with Dave Henderson, a pile of cassettes, an equalisation unit that no-one understood and a Revox…this is the result. Zyrtax "Black Roots" 7inch released with: Multi National Disaster Records 5.

Po Te Kitea Part 1 B2. Po Te Kitea Part 2. SKALPELL offer you the soundtrack to the progressing degeneration of our species illustrating the forthcoming big crunch of so-called telligent-life s we use to define ourselves. Multi National Disaster Records Die neuen Geister haben schon Risse 5: Eternal Loss of Beauty 6: The right step in the wrong direction 5: Industrial and Dark Ambient split project release: Conscious without origin B: Com Verbot Drehmoment C: Each copy is handnumbered.

Skalpell have travelled far through the sub-styles of this genre: The project was founded in to transfer the anticipated reality into an adequate musical context. Skalpell is trying to project and dissect images from subconsciousness to an audible level. The band is reknown from their Mini-Clubhit "Wasserleiche" and from their highly successful album "In Between". Carsten Vollmer Uncomprehensible dense and murderous squeechings, knockings, bone-sawings. A huge carpet of ant-like noises. Terms like beauty, asthetics or musical standards are simply ignored.

There is no evidence that these thick layerings of eletronic, yelling sounds represent violence - this sound doesnremind oneself of war. It rather resembles the everyday life in an inhumane industrial world. We are nothing but observers. Spherical Disrupted Spherical Disrupted creates peculiar and dark sound structures between ambient athmospheres and noise music, using electronic sounds and field recordings.

He is producing electronic and experimental music since using different monikers and with different projects. They explore the effects of popular culture in collective remembrance. The minidisc compression, combined with a studio engineer not accustomed to this type of recorded material compromised the details of the sounds, noting the difference upon listerning to the source material files, I began to reconstruct the entire work digiatlly, utlizing the original components. Originally all the tracks where recorded in real time with no overdubs following a score for each piece arranged in adavnce.

For this rerecording, having lost many of these notations, I diagramed each arrangement and have replicated the pieces as closely as possible. This reconstruction, Repostfabricated, can be viewed as how Postfabricated was intended to sound and how I, while composing it, heard it in However due to my technical restrictions at the time, the particular quality of sound was not reproduced. The artists on this CD were given sound source files to create new works.

Inspiration for this project comes from a review by Roel Meelkop of Postfabricated in Vital Weekly suggesting that it would be perfect for sampling and remixing. Thus PostPostfabricated was born 5 years later. Richard Chartier - Enter 0: Richard Chartier - Entershift 2: Richard Chartier - Chlorine 4: Richard Chartier - Notes 3: Richard Chartier - Articl 4: Richard Chartier - Puls 0: Richard Chartier - Lint 1: Richard Chartier - [.

Richard Chartier - Subscript 1: Richard Chartier - Intf B 0: Richard Chartier - Hiwave 1: Richard Chartier - Pop 1: Richard Chartier - Empti 0: Richard Chartier - Inter 2: Richard Chartier - 10env 2: Richard Chartier - Bit 1: At SapnaOnline we believe that customer satisfaction is utmost important hence all our efforts are genuinely put into servicing the customer's in the best possible way. SapnaOnline offers Free shipment all across India for orders above Rs and Global Shipment at the most economical cost.

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Paper Back Publishing Date: The great majority of these foreigners were British about and around were French Maltarich Young defines hybridity at its simplest as a binate operation , Japan, however, created not one other against which it defined itself but two: Asia and the West. In the 20 th century Japan was 17 Scholars have criticized Bhabha for, among other things, homogenizing colonial experiences and trivializing the actual violence of colonialism, thereby disregarding specific historical circumstances, and for focusing exclusively on male, heterosexual and able-bodied colonial subjects.

Despite convincing criticism, however, hybridity has become one of the most widely used key terms in postcolonial studies. However, the increasing hybridization of Japan through the adoption of foreign ideas in the 19 th century went hand in hand with an increased value of what was perceived as unique Japaneseness. Far from making one of two distinct things, Japan incorporated a multitude of external influences to redefine what it meant to be Japanese. The state s adoption of Western technologies and ideas directly influenced its status as colonizer in Asia, thus locking the country into a triangular and not a dyadic relationship with its respective others Hybridity as a Tool for Resistance Against Colonialism?

In Signs Taken for Wonders, Bhabha defines hybridity as the sign of the productivity of colonial power, its shifting forces and fixities; it is the name for the strategic reversal of the process of domination through disavowal , Significantly, hybridity for Bhabha enables a form of subversion , and allows other denied knowledges [to] enter upon the dominant discourse and estrange the basis of its authority , Hybridity in this sense is a threat to the colonizer.

This definition of hybridity can be applied to the research on Japanese imperialism insofar that beginning with the Meiji Restoration in , Japan had to negotiate the adoption of various Western technologies and ideologies in relation to Japanese traditions. Tierney defines Japanese imperialism as a hybrid imperialism that was different from, but also mimetic of, Western imperialism Although Japan no longer saw China as a suitable model in the 19 th century, its influence on Japanese culture, script and politics cannot be overstated.

Latecomers such as Germany and Russia, for example, looked towards older colonizers such as France and Britain, who in turn followed the precedents of Spain or even ancient Greece or Rome Organic hybridity, for example, occurs in the historical evolution of languages, in the more or less unreflected borrowing of one language from another Moslund For languages, Bakhtin defines intentional hybridity as no direct mixing of two languages within the boundaries of a single utterance rather, only one language is actually present in the utterance, but it is rendered in the light of another language , emphasis in the original.

SOLIDAMORE (Sceneggiature Originali Vol. 1) (Italian Edition)

Intentional hybrids are internally dialogic meaning that two points of view are not mixed but set against each other dialogically Although devised for language systems, Bakhtin s findings can be applied to Japan s hybridity. The Japanese hybrid state that resulted from the adoption of Western technologies and ideas was not a simple mix of Japan and the West, but a rendering of Japanese culture in the light of carefully selected aspects of the West.

Intentional hybridity is oppositional. Young claims that Bakhtin s intentional hybridity has been transformed by Bhabha into an active movement of challenge and resistance against a dominant cultural power , Thus, hybridity in this instance can be redefined as less condition than function Moslund Significantly, even if critically examined by scholars such as Young and Moslund, hybridity is still interpreted as a disruptive force and challenge to colonial authority.

However, Japan was arguably only able to exert colonial power because of its hybrid status as a nation between the West and Asia. By consciously adopting a hybrid character, Japan was in effect subverting the possibility of subversion Robertson, , Mimicry and hybridity are in this case, thus, not merely subversive acts but tools of colonialism. If it can be assumed that Japan itself is a hybrid state between the West and Asia and that this hybridity was used to colonize other nations, hybridity does not have to be a subversive and liberating force.

In other words, Bhabha, when defining the concept, did not take into account that the creation of an other may also be necessary for the hybrid. The question of hybridity with regard to Japan s imperialism is even more complicated when race is drawn into the equation. Theories of race, and racial classifications were often attempts to deal with the real or imagined hybridisation that was a feature of colonial contact everywhere Loomba, b, After , Japanese thinkers contrasted notions of racial purity with ideas of racial hybridity. Most researchers have pointed out the importance of the idea of racial homogeneity for Japanese nationalism Morris-Suzuki It was argued that the Japanese were linked by blood to a single imperial family with mythical origins in the age of the gods However, the evocation of racial purity could not adequately support Japan s colonial ambitions in Asia.

As a colonial power the Japanese state needed ideologies which might appeal to its colonial subjects as well as to the people of the colonizing homeland The notion of hybridity was utilized to support Japan s colonialist expansions. The historian Kita Sadakichi , one of the most influential exponents of Japan s racial hybridity, argued that the Japanese ethnic group was created from many people of different lineages [who] [ ] have intermarried, adopted one another s customs, merged their languages and eventually forgotten where they came from Kita in Morris-Suzuki Thus, the uniqueness of the Japanese was seen as lying, not in their racial purity, but in their unmatched ability to mold such disparate elements into an organically united society The idea of racial hybridity is tied to Japan s colonialism project insofar that Japan s colonial subjects in Korea or Taiwan for instance, were above all seen as incomplete Japanese 92, emphasis in the original.

To use Kita s words, they were still in the process of merging and forgetting where they came from but would eventually be absorbed and become Japanese Forced name changes in its Korean colony are one example of how Japan tried to transform its colonial subjects into Japanese. The short book Kokutai no hongi Principles of the National Entity published in by the Ministry of Education illustrates how Japan used its alleged hybridity as a justification for its colonial expansion.

It is one of the few attempts by Japanese officials to compile a general statement of lates nationalist ideology Morris-Suzuki The Principles reinforce the notion of Japanese uniqueness and superiority but never do so in terms of a biological understanding of race Instead, Japanese global superiority rests on their unselfish ability to assimilate foreign influences In the context of Taiwan, that meant that the Taiwanese were encouraged to speak Japanese, to adopt Japanese customs, and to revere the emperor.

In short, they were supposed to become Japanese, without ever attaining full equality, political representation or economic advancement By accepting their status as hybrid nation and by strategically assuming a protean or hybrid character itself, the Japanese nation neutralized the anxiety about hybridity that can accompany colonialism Robertson, , Japan s alleged history of peaceful racial and cultural hybridity was used to advocate its colonialist mission in Asia. Thus, instead of destabilizing the colonialist s power, as scholars such as Bhabha or Young claim, racial and cultural hybridity was utilized to strengthen Japan s colonial authority.

In that way, Japanese colonial policy stood in stark contrast to the German empire whose objective, in general, was to perpetuate hierarchical differences, supporting colonial power by essentializing alterity and thus treating differences between peoples and cultures as unchanging Conrad , German colonialism followed, at least in theory, a policy of clear-cut cultural differences between colonizers and colonized. It did not aim to transform its colonial subjects into Germans and it discouraged Germans to go native. Thus, Japan s complex status as both Westernized and Asian nation is vital for understanding Japanese imperial thought.

The country s complex position between the West and Asia as well as its continually changing relationship with Germany make it crucial that postcolonial theory should be adapted in order for it to be applied to German-Japanese cultural productions. In this section, I have shown how hybridity had become an important cornerstone of Japanese imperial thought and simultaneously a way to defend Japan against Western imperial endeavors Triangulated Colonial Relations Japan s contradictory embrace and rejection of Western ideologies and technologies came to define its relationship to the West as one not easily summated with a dyadic colonizer-colonized structure.

Instead, the triangulated structure proposed by Susanne Zantop and Katrin Sieg can be adapted to reflect the continuously shifting relations between the West, Japan s colonies, Germany, and Japan. Zantop utilizes a triangular structure to illustrate the German colonialist imagination s dependency on an absent third party. This structure enabled German thinkers to set themselves in opposition to other. Likewise, Japan portrayed itself as a victim of Western imperialism in order to justify its colonial expansions. The refusal of Western powers to include a clause on racial equality in the Treaty of Versailles, combined with the prohibition of Chinese and Japanese immigration to the US in the s, fueled a strong sense of Japanese victimization and formed a recurring theme in the rhetoric of Japan s interwar pan-asianism Morris-Suzuki Thus, Japanese and German imperial thought exhibits a triangular structure with the West exemplified by colonizers such as Britain or France as an implicit third party.

Instead of a dyadic structure that arguably formulated the relationship between most Western colonizers and their colonized, Japanese colonialism was always produced in relation to, and, indeed, refracted through Western colonialism Tierney The relationship between the West and Japan within this structure is not static. On the one hand, Japan identified with Western powers, held them up as models and claimed to do civilizing work in their colonies.

On the other hand, Japan tried to set itself apart from the West by invoking a rhetoric of sameness 21 with regard to the people that they colonized arguing that it was closer to their colonial subjects than the Western powers were. By the s, Japan was claiming that its colonialism liberated other Asian nations from the West on the basis of an alleged racial brotherhood Initially strongly influenced by Western liberal ideas, he later advocated for the expansion of Japan s imperial state and became increasingly anti-western.

Tokutomi was arrested as class-a war criminal after the Pacific War and was consequently purged from public life 24 Zantop cites Herder s critique of Spanish, British, and Dutch colonialism, which Herder calls crimes against humanity Zantop, b, , while emphasizing the innocence of the Germans. In Letter , Herder calls the Germans the poor youth, the weak child who, in their innocence resemble the colonized and enslaved Hans Steinhoff was an anti-british propaganda film set during the Boer War.

According to Zantop, Steinhoff creates a complicated set of overlapping configurations that positions Germans as moral judge and avenger in one b, The film generates in its viewers a total identification with the plight of the Boers, who, in their rustic blond patriarchal probity, resemble any generic Germans of Blut und Boden Heimat films , emphasis in the original. Initially Tokutomi espoused the West as model for Japan s progress However, he subsequently translated Japan s alleged superiority over other Asian nations into a call for a civilizing mission and a defense against the West: The countries of the Far East falling prey to the great powers of Europe is something that our nation will not stand for.

The fact that Germany had lost most of its colonies in Asia and the Pacific to Japan after the First World War as well as its preoccupation with European matters, indicate that Germany was no real danger to Japan s expansion plans in East Asia. In fact, in the later prime minister of Japan Konoe Fumimaro opened up an opposition between Japan and Germany, and colonizers such as Britain and France: As the colonial history of England and France attests, they long ago occupied the less civilized regions of the world, made them into colonies, and had no scruples about monopolizing them for their own profit.

Therefore not only Germany but all late-developing countries were in the position of having no land to seize and being unable to find any room for expansion. This state of affairs contravenes the principle of equal opportunity for all humanity, jeopardizes all nations equal right to survival, and is a gross violation of justice and humanity. He also uses a Western understanding of development and progress when he calls Germany and Japan late-developers.

Konoe, thus, regarded Germany and Japan as two latecomers whose exclusion from Western imperialism was not only unjust but also a threat to global stability. Many Japanese of his time shared his views. They saw Japan as late but newly emerged world power that still faced Western discrimination DeBary Likewise, Germany in the late 19 th and early 20 th century was acutely aware of its opposition to European powers such as Britain or France. Antagonism and rivalry with the more developed colonizing powers France and England produced a sense of Germany as the underdog, the late-comer, in need of outdoing its peers b, A strong sense of entitlement combined with resentment against Western powers such as France or Britain can be seen as common foundation of German and Japanese imperialist thought.

The focus of the film at the beginning lies on the relationship between Germany and Japan, with the West as implicit third party. However, it shifts towards the last third to center on Japan and its colonial ambitions in China, with Germany as a largely invisible, but implied third agent. Japan and Germany are simultaneously set against both the West and the colonies in Asia. Furthermore, chapter four will investigate selected novels by the contemporary German-Japanese author Yoko Tawada who publishes both in German and Japanese.

Japan and Germany are positioned as Western nations with a fraught relationship to Europe s former colonies. Significantly, Japan s colonial history is absent from this novel. Applying the triangular model to the analysis of Tawada s novel and Fanck and Itami s films illustrates that current postcolonial theories with their focus on dyadic colonizer-colonized structures cannot sufficiently grasp German-Japanese cultural productions from the 19 th century onwards. Although Asia is absent in Zantop s text, this triangulated structure can thus be adapted to understand the relationship between Germany and Japan.

Germany and Japan s respective positions in these triangular structures changed over the course of time. However, both with regard to Japan s relation to its colonies, and with regard to Germany s relation to Japan, the West functioned as implied third party German-Japanese Postcolonial Theory and Race The Racial Classification of the Japanese In the 19 th century there was a heated debate in Japan on whether the Japanese belonged to the white race.

Minzoku, Morris-Suzuki claims, is closer to the German word Volk. It can, but does not have to refer to a physically related group of people and be used to refer to people united by a common language or culture Even if the Japanese did not saw themselves as belonging to the coloured races, they learned the Western codes of racial color by their direct experience of the West In his Nippon Jinshuron On the Japanese Race published in after the Sino-Japanese war, he rejected the idea that the Japanese belonged to the same yellow race as the Chinese on the basis of their different languages as well as the alleged intellectual superiority of the Japanese While a speech in which he elaborated on his idea that the Japanese were an Aryan race ended amidst a storm of applause , critical voices were quick to point out that Taguchi s insistence on the Japanese being Aryans or Caucasians locked them in an ideological system that equated white with being superior Taguchi s views were partially shared in the West after the Russo-Japanese War where racial theorists more readily accepted that the Japanese were Caucasians because in that way they could maintain a belief in Caucasian superiority Many of Taguchi s contemporaries were skeptical of theories that claimed that the Japanese were in fact a white race.

Upon seeing his reflection in a window, Natsume remarks: Since I arrived here, I realized for the first time that we are yellow quoted in Tierney Around the time of the Triple Intervention in , the notion of the yellow peril began to be promoted by the German Kaiser who was encouraged to use this term by Max von Brandt In a later suppressed interview with the New York Times, Wilhelm II claimed he saw the war between Japan and Russia as the first racial war between the white and yellow nations quoted in Iikura He further stated that: The danger to us is not Japan, but Japan at the head of a consolidated Asia and that to prevent Japan from swallowing China was the duty of the white man Japan kept a relatively low profile on the yellow peril hysteria 90 of the Kaiser until the breakout of World War I.

In terms of race, Germany and Japan s relationship underwent various changes. From the early 20 th century onwards, German thinkers did not unconditionally classify Japan as belonging to the coloured races. In a world that was ordered and hierarchized according to a classification of races and which gave the white race a superior status, the Japanese s debated racial status is significant. In the following chapter, I will demonstrate how racial discussions, particularly the concept of the yellow peril were central in shaping the German-Japanese relationship at the turn of the 20 th century.

When classified as a non-white nation, Japan could never hope to be accepted as true equal by Western nations. In addition, Japan s shift towards a discourse of a racial brotherhood in Asia reflects the nation s changed attitude towards the West as well as its rise to a powerful colonizer. With regard to race, Japan was locked in a triangular relationship between its own colonies and the West.

Japan s proclamation of a cultural and racial affinity with its colonial subjects that served as basis for its colonial project should be regarded as an aspect of specific colonial discourses that emerged within, and in response to, an already racialized world divided between the whites and the rest Ching 26 , or, in other words, the West and the rest, since the West was codified as white.

At the turn of the 19 th century various theories of race competed with one another in Europe and Japan. While in practice a variety of views on race developed, Conrad identifies two main stands of theoretical thought with regard to the relationship between race, biology and culture both of which were influential for Japan and Germany s colonial policies: The first, the conviction that races could change, was based on older traditions of cultural philosophy , This idea was closely aligned with education and the belief that inferior people could become emancipated in the course of time , The second theory was much more influenced by biology and assumed that races were unchangeable.

It formed the basis for repressive demographic measures and biopolitical interventions These theories of race influenced not only German and Japanese colonial politics, but also their respective relation to one another. Thus, the changing triangular structure that defines German- Japanese relations can be illustrated through the concept of race. This politics of difference frequently manifested itself in the creation of segregated living spheres in the colonies.

Germany s colony in China, the harbor city Qingdao, by far the biggest city in the German empire, for example, had zones in the inner part of the city that were exclusively designated for whites. The native Chinese were forbidden to enter these spaces and had to live on the fringes effectively leading to two segregated societies with two different legal codes The German laws in Qingdao regulated physical space, time and visibility: Qingdao was divided into segregated zones for racial and cultural reasons. For Germans to share a living space amongst people from different races was seen as disadvantageous to the colonial work.

The special borders were directed against the interior and the exterior Chinese other Steinmetz meaning that the Germans should be physically segregated from the Chinese as well as being spared [ ] any unpleasant confrontation with Chinese culture That the complex relationship between Japan and Germany sometimes transcended race can be seen in Qingdao and other German colonies. With regard to Qingdao, the Japanese presence confronted the German colonizers with a challenge. Around , German racial theorists regarded the Japanese and the Chinese as parts of the yellow race and the discourse of the yellow peril, while mostly focusing on China, made no real difference between the Japanese and the Chinese Klein Politically, however, at least since Japan defeated Russia in it became disadvantageous to treat the Japanese like the Chinese because Japan was quickly assuming the status of a world power Moreover, even prior to the First World War, Japan s trade relations in Kiautschou had been more important and pronounced than Germany s In November , the Kaiser declared the Japanese to be juristically on par with Germans In addition, in German New Guinea, Japanese citizens were exempt from Germany s 31 A good example for this is colonial Shanghai, whose division into segments for Chinese, Japanese and Westerners gave rise to tensions between the colonizing powers.

In literature, Yokomitsu Riichi s novel Shanghai framed the question of Japan s ambivalent position within Asia at one belonging to the region and yet also identified with Western colonial powers Lippit However, German racist ideologists disagreed as to which race the Japanese belong. The Japanese were treated differently from other Asians in the German colonies. For instance, in Qingdao they were able to live in the part of town that was reserved for Westerners Steinmetz Although the Japanese belong from an European point of view to a coloured tribe, they naturally have to be excluded [from laws applying to non-whites], being a nation that has assumed its place at the side of the European powers Karlowa in Klein The Japanese were better accepted in German colonial circles than the Chinese.

German-Japanese marriages, for instance, were announced in the official gazette of the government and the local press, while German-Chinese were not Klein However, children of such marriages were seen as lost for the German national cause Jacobson in Klein regardless of whether they were German-Japanese or German-Chinese. Why were the Japanese treated differently from the Chinese in Germany s colony? A possible answer can be found in the realm of culture, more specifically in Japan s Meiji Restoration and its adoption of Western ideas and technologies.

Japan s increased economic and political importance combined with Germany s self-proclaimed influence in political, educational and scientific areas in Japan might have made it easier for Germans to accept Japan as more or less equal Thus, Japan s self-colonizing acts made their entry into the realm of Western powers possible. Moreover, the Japanese themselves saw their role in Kiautschou as that of colonizers with long-term settlement plans and eventually they would supplant the Germans as colonizers on Chinese territories.

Therefore, the relationship between Germany and Japan with regard to race was inconsistent. In the next chapter, I will give a more in-depth discussion of the yellow peril trope and its relevance for the German- Japanese cultural realm. I will demonstrate that questions of race and culture were vital for the discussion of the German-Japanese relationship around the turn of the 19 th century The Question of Coloured Imperialism Japan, Race, and Mimicry In contrast to many other colonizers, Japan s colonial empire was regionally restricted to geographically close countries.

Thus, whereas the colonized subjects of Britain or France were racially differentiated from their colonizers, this was not the case with Japan. Japan s most important colonies, Taiwan and Korea, were populated with inhabitants who were racially akin to the Japanese and with whom the Japanese shared a common cultural heritage Ching Japan s position as coloured colonizer shaped its relationship to its colonial subjects insofar that even as it colonized various countries in Asia, Japan would present itself as a liberator from Western imperialism Instead of fully identifying with the white colonizer, for instance, Japan as empire is closer to that of the colonial mimic Tierney For Bhabha the question of the ambivalence of mimicry as a problematic of colonial subjection results from the encounter between the white presence and its black semblance , , emphasis mine.

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In Of Mimicry and Men he states that the mimic is almost the same but not white , Throughout his influential text, Bhabha exclusively identifies the colonizer as white cf. She analyses how class and race are intertwined to the extent that in early modern Europe 33 Although Japanese imperialists stressed the racial and cultural affinity between the Japanese colonizer and their colonized, it is important to note that Japan colonized people and regions that were culturally very different from the Japanese state Tierney However, with regard to colonialism, Loomba does not go beyond the framework that identifies colonizers as white and does not take non-white colonizers into account b, 99, For Bhabha, colonial mimicry is the desire for a reformed, recognizable Other, as a subject of a difference that is almost the same, but not quite , , emphasis in the original.

Mimicry is constructed around an ambivalence; it is the representation of a difference that is a process of disavowal This ambivalence can be seen with Japanese colonialism: Japan s colonial subjects were encouraged to gradually become Japanese through assimilation and mimicry. However, contradicting this rhetoric of assimilation, they were never accorded the economic and political rights granted to Japanese subjects Tierney The mimic is at one resemblance and menace.

The menace of mimicry lies in its double vision; it discloses the ambivalence of colonial discourse and disrupts its authority Bhabha , For Bhabha mimicry, just like hybridity, poses a profound threat to colonial power , However, Tierney points out that notions of colonizer as original and colonized as mimic or copy can hardly be applied to Japanese colonialism because Japanese imperialism itself is mimic He suggests complementing Bhabha s theory of mimicry with the notion of imperial mimicry the mimicry by one imperial power of another What Bhabha s theory of mimicry does not seem to be taking into account is the conscious mimicry of the West by a non-western country as means of progress.

Japan s imperial mimicry shaped the public discourse with which they justified their colonial expansions This process of cultural self-colonization led the Japanese to dressing up in borrowed clothing, putting up a false front One Japanese may make fun of another for not knowing the proper way to hold a knife or fork, but such smug behavior only proves that the Westerners are stronger than we are. If we were the stronger, it would be a simple matter for us to take the lead and make them imitate us , emphasis mine.

Thus, instead of being a. At the same time it is an expression of power on the side of the colonizer, not the colonized. Sadly enough, we have no choice in that matter. And when two unequal partners socialize, they do so according to the customs of the stronger All we can do is mechanically memorize Western manners manners which, on us, look ridiculous and Just look at how we socialize with Westerners always according to their rules, never ours [ ] , emphasis in the original.

This last statement is particularly interesting. In order for Japan to continue to exist as Japan, the country has to modernize and adopt external role models. However, this transformation into a semi-western state does not fundamentally threaten Japan. Analogous to hybridity, mimicry has become a defense tool against Western colonialism and simultaneously an instrument to further colonization projects.

Bhabha sees mimicry as external desire of a colonizer for a reformed, recognizable Other , but Japan had internalized that desire to reform to utilize mimicry for their own means. Japanese colonial administrators, propagandists and scholars utilized Western colonial discourses to justify their rule over their Asian neighbors Gender emerges as a second discourse through which German-Japanese cultural productions can be understood. Both discourses are closely intertwined. In his discussion of the geisha discourse in the West, Thomas Pekar cites a range of German-language sources from the 19 th century, which portrayed Japanese women as less Asian compared to Japanese men or at least made a pronounced difference between Japanese men and women a, For example, the German merchant A.

Exner wrote in his Japan: Pekar quotes the traveller Craemer who wrote in The [Japanese men] have friendly faces and their politeness is exuberant, but the Asian race [Asiatischer Typus] that sticks to them, especially their brown-sallow skin that is much more pronounced in them [the men] compared to the female sex, is not to European taste Pekar a, More important for the Western depiction of Japan than the racial classification of Japanese women, however, was the general equation of femininity with the Orient. The opposite of this female, maternal principle was modern progress a, According to Bachofen, occidental cultures had reached such a modern, progressive civilization stage, whereas the cultures of Asia and Africa remained static on this earlier, feminine, natural civilizatory stage a, The Orient thereby came to be codified as female.

For Bachofen, this translates into a call for an Occidental civilizatory mission and liberation of the Orient from their pre-modern civilizatory stage a, Likewise, in her essay on female representations of alterity in the colonial discourse, Claudia Gronemann points out that a recurring image, indeed a topos of all colonial histories, is the imagining of the foreign as female i. Within this discourse, the foreign woman symbolized the territory that was to be discovered or conquered. Particularly since the European Enlightenment, the female body was associated with nature, which for the conquerors in their civilizational mission is the foreign per se , emphasis in the original.

In that way, an opposition between civilized forces that were marked as masculine and European and the other was opened up The other is inscribed as positive, in the sense of being a symbol of an unspoiled, more natural past, and conversely as negative, as embodiment of depravity and sinfulness For Gronemann, the codification of gender aims at the symbolic constitution of hierarchical bodily images in legitimation of colonial interests , emphasis in the original. Although I have demonstrated that the German-Japanese relationship does not fit the dyadic structure of colonizer and colonized, feminized representations of Japan did influence the Germans perception of the archipelago.

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