Thursday, 31 May 2007

Max and Gustave's Adventures in Egypt. Part 4

(Flaubert's Orientalism gets the better of him)

From a letter from Flaubert to Bouilhet 1850:-
"I must tell you, my dear sir, that i picked up VII chancres, which eventually combined to form two, then one. I travelled in that condition from Marmaris to Smyrna on horseback. Each night and morning I dressed my poor prick. Finally it healed. In two more days the scar will have closed. I am madly taking care of myself. I suspect a Maronite - or was it a little Turkish girl? - of having given me this present. Was it the Turk, or the Christian? Which of the two? Problem! Food for thought!!! This is one of the aspects of the Orient unsuspected by the Revue des Deux Mondes!
We discovered this morning that young Sassetti has the clap, and last night Maxime discovered on himself (although it is six weeks since he did any fucking) a double excoriation that looks to me very much like a two-headed chancre. If it is one, this makes his third since we began our trip. Nothings so good for the health as travel.
Talk to my mother about me, she is very sad, poor thing."

The Universe gets Yellow Fever

Riyo Mori of Japan is Miss Universe 2007.

Wednesday, 30 May 2007

Benjamin and Outsider Art

Walter Benjamin was greatly appreciative of Outsider Art. To quote his biographer; "Benjamin is well known to us as a sophisticated and cosmopolitan translator and critic of Baudelaire and Proust, but he also loved "naive" art."
TheLeedsArcadesProject also loves Outsider Art and has written some small pieces for Raw Vision, an Outsider Art magazine. Here is a piece about, and some work by, Joan Mallofre-Vidal, but more from him later.....







Modern Oriental Pleasure


Just a short stroll from Thornton's Arcade in Leeds can be found The Oceana Club. It was here recently that TheLeedsArcadesProject enjoyed a night of Oriental Pleasure. With our Yellow Fever in check, and wondering if this would be anything like the Oriental Striptease of Thornton's City Varieties, we witnessed, ....,well, I will let the photo's speak for themselves as to what constitutes Oriental Pleasure in modern Leeds.






Tuesday, 29 May 2007

Benjamin on The Internet

Benjamin would no doubt have approved of the internet. In much of his work he looks forward, into the future, and suggests that there will be new forms of publication that will be more easily accessible, in an industrial mass society, to people averse to the "universal gesture of the book."

Yellow Fever merchandise

And now Yellow Fever merchadise is available:-

A reoccurance of Yellow Fever



TheLeedsArcadesProject has looked at Oriental Strip-tease in the 1950’s, at City Varieties and at Flaubert's Orientalism. We have also looked at the career of Anna May Wong and at the idea of “Yellow Fever”. TheLeedsArcadesProject would like to further examine the idea of “Yellow Fever”.
Could it be possible that “Yellow Fever” and stereotypes of Asian women in general stem largely from stereotypes of Japanese women? Could it be that the fantasy Asian is a Japanese fantasy, a Japanese stereotype? She is intelligent yet pliable, mysterious yet ornamental. She is also perpetually prepubescent, ageless and petite, girly and hairless. Perhaps if Ruskin had Yellow Fever, he would have managed to find an adult woman who didn’t horrify him. The fantasy Asian is however also exotic and wise beyond her years. Her breasts are small and she’s “tuck able” under the arm.
She comes from a culture in which women traditionally serve men for a living, in one way or another.

Friday, 25 May 2007

A first glimpse of Kafka

From The Arcades Project by Walter Benjamin:-
"Why does the glance into an unknown window always find a family at a meal, or else a solitary man, seated at a table under a hanging lamp, occupied with some obscure niggling thing? Such a glance is the germ cell of Kafka's work."

Thursday, 24 May 2007

The Haunting of City Varieties


Thornton's City Varieties seems to be on the border between this world and the next. There are an incredible number of reported hauntings, including:-
  • The ghost of a carpenter who hung himself from the roof beams. He can sometimes be seen hanging during performances.
  • "A woman in white who held a lit candelabra in her right hand, always on stage, near to the piano."
  • "A man in a bowler hat and old-fashioned attire standing near the piano on stage."
  • "A friendly poltergeist" in the cellar with a particular perchance for stealing keys.
  • A strange "Huffing noise" heard in the dressing rooms.
  • A "crinolined lady resembling an actress" who "faded into the fire" in the Circle Bar.
  • A woman wearing old-fashioned clothing with a "sad, pained expression" in the ladies toilet.
  • A pair of shapely women's seen legs going up the stairs to the upper circle, yet, the owner of the legs was never found.
  • A Victorian woman wearing a pork pie hat, seen in a box, three nights running.
  • A man wearing a First World War trench coat in the upper circle.
  • A hand on the back pushing people forward, felt in the upper circle.
  • Footsteps heard on the bridge to backstage from Box E.
  • The haunted Magicians Cabinet which has violently shook, moved forward and even pursued people.

A ticket for City Varieties, for life


After Charles Thornton had relenquished control of City Varieties, by the 1940's it had passed down to Harry Joseph who had previously run the London Hippodrome. Whilst Harry was incharge a woman gave birth to a baby boy in the middle of a production of the pantomime Babes in the Wood. This brought the house down. Harry was so pleased he gave the boy a free ticket for life (it is not known however, whether he ever used the ticket).

Cleaning Tramp Shit in Thornton's Arcade

Thornton's Arcade has a currently unused basement, dating back to the time of the arcades construction. TheLeedsArcadesProject is informed that the basement used to be used as workshops. In the 1960's, at night tramps would sleep in the stairway down to the workshops and would shit and piss on the stairs or down at the bottom. They would however always cover the excretion with newspaper and would leave money ontop for whoever cleaned it up.

Wednesday, 23 May 2007

Charles and Mary Lamb, and bloody, bloody murder


Charles (1775-1834) and Mary (1764-1847) Lamb were the brother and sister writers of 'Tales from Shakespeare', they also wrote for the Quarterly Review and other magazines which Ruskin would later write for. Ruskin had particularly admired their 'Poetry for Children', which inspired him to write his own children's stories, including a version of the old children's tale, 'Dame Wiggins of Lee'. 'Tales of Shakespeare' like most of their work is a sanitised, children friendly version of Shakespeare's stories which omits most of the more unsavory elements of the plays. The Lamb's real lives were quite the opposite, however. From her early 30's, Mary Lamb suffered from regular and frequent bouts of ungovernable derangement, and was confined in various madhouses. Charles would keep a straight jacket at home should the need ever arise. Things came to a head in 1796, when Charles had gone to fetch a doctor to calm Mary down. Mary, "worn down to a state of extreme nervous misery by attention to needlework by day and to her mother at night," was seized with acute mania and stabbed her mother to death. Mary had first attacked the maid, then turned on her parents and wounded her father, and stabbed her mother to death with a fork.

The Laws of the time permitted her to remain at home with Charles as her guardian, but Charles himself suffered from mania and he too was admitted to the madhouse on occasion. He was also a chronic alcoholic. Charles wrote to his friend Coleridge; "Dream not of having tasted all the grandeur and wildness of fancy, till you have gone MAD"

Tuesday, 22 May 2007

Saint Crumpet

On his death bed Ruskin held onto an old letter sent to him by Rose La Touche. No one could take it from him, it was as if it gave him some kind of peace as he lay dying.
What was it that this great man, one of the greatest men of his age prized so much?
What was it that as he passed away, he valued over all other things?
When it was forced from his cold, dead hand it turned out to be inconsequential, a childs account of a school day out in Nice, including the line:
"So you thought of us, dear St Crumpet and we too thought so much of you."

Benjamin on Laughter

From The Arcades Project by Walter Benjamin:-
"Laughter is shattered articulation"

Monday, 21 May 2007

Hitler's reasons for war

Benjamin took his life as he felt the Nazi’s close in on him as he fled to Spain. The Nazi invasion of France had been relatively smooth, but TheLeedsArcadesProject would like to look in a little more depth at what drove the Nazi desire for War. History has passed down to us a number of possible reasons, but TheLeedsArcadesProject will examine this issue once again.

1936, and Hitler had swept to power spectacularly with the peaceful resolution of the Rhineland crisis. This mood of national exhilaration was to be short lived however. Ian Kershaw tells us that “the worries and complaints of daily life returned soon enough. Worker discontent about low wages and poor work conditions, farmer resentment at the ‘coercive economy’ of the Food Estate, the grumbling of small tradesmen about economic difficulties and ubiquitous consumer dissatisfaction over prices continued unabated” (Kershaw, 2000, p.xxxvi). Nazi policies needed to address the economy and this they did in a radical way.

GETTING THE ECONOMY BACK ON ITS FEET

Over the next few years the Nazi party restructured the economy to facilitate its military rearmament.
They did this by a program of government spending and public investment with the intention of stimulating demand and expanding income. By 1937 this strategy had led to a situation whereby “there was work again. The economy was booming. What a contrast this was to the mass unemployment and economic failure of Weimar democracy” (Kershaw, 2000, p.28). Most Germans supported Hitler at this time, indeed saw him as a saviour simply because what they saw was “millions of people began to find jobs again and earnings grew steadily while the cost of living did not. After what seemed like years of weak and uncertain government, Hitler was conveying the impression that there was a steady eye and firm hand at the helm again.”(Gellately, 2001, p.260) Indeed there is agreement amongst commentators that the German economy recovered faster and to a higher level than in the rest of Europe. According to Overy the purpose of this economic recovery was to fulfil Hitler’s ambitions of “German imperialism and war”(Overy, 1982,p.61). The German economy was been prepared for military expansion, this would become much more apparent in 1936 with the Four Year Plan. The Nazi’s did more than just provide employment in armaments factories, they also reduced the burden of taxation on farmers, supported the construction industry and embarked on an ambitious road building scheme. By 1937 full employment was reached.

The Nazi approach to economy seems to have had no definite plan, as the leaders tried to mould the economy to their ideological requirements. Full employment was therefore important to get the country to support them and also to get the armaments industry working again. The party tried to control most as much of the economy as they could, they attempted to regulate trade, finance, and investment and labour relations.

HEADED TOWARDS ECONOMIC CRISIS

This situation was not to last as the economy began to flounder.
Unfortunately “as the pressures of an increasingly armaments-orientated economy laid bare the mounting shortages of labour and raw materials, the attractiveness of expansion became all the more evident.” (Kershaw, 2000, p.xiv). Hitler’s rearmament program had already led to full employment, a factor which made him very popular, but he had succeeded too well and was now faced with labour shortages. With full employment there was plenty of money floating around for consumer goods so now both the consumer market and the armaments industry were competing for workers and investment. Hitler favoured the armaments industry but had to keep the German people happy, the only way to do this was ultimately to plunder other countries.

That Hitler was ideologically motivated is clear but it seems that to an extent he was also economically motivated aswell. For example in 1936 when he pledged his support to Franco in the Spanish civil war he was aware of the “potential for gaining access to urgently needed raw materials for the rearmament program” (Kershaw, 2000, p.14).

THE FOUR YEAR PLAN

Hitler introduced The Four-Year Plan in 1936 which firmly established Nazi economic policy on the country and pushed the economy in the direction of expansion and war. The economy was restructured for war preparation including “Self-sufficiency in essential war materials-oil, rubber and steel.” (Overy, 1982,p.61) Hitler’s ideology and the country’s economic policy were now completely linked.

ANNEXATION OF AUSTRIA

In 1937 Hitler annexed Austria to Germany and again ideological reasons were not his exclusive motivation; “the significant material resources that would accrue to Germany’s economy, hard-pressed in the push to rearm as swiftly as possible under the Four Year Plan, were the key determinants in the take-over” (Kershaw, 2000. P.66). Austria’s raw materials, particularly its Iron ores, made it an economically important country.

THE INVASION OF CZECHOSLOVAKIA

By 1938 Hitler and his leaders were “casting greedy eyes on the raw materials and armaments plants of Czechoslovakia. The problems built into the economy so heavily tilted towards armaments production but still heavily dependent upon costly imports of food and raw materials, facing too an increasingly acute labour shortage, and with an agriculture sector strained to the limit, ere –as countless reports indicated-mounting alarmingly. The economic pressures for expansion accorded fully with the power-political aims of the regimes leadership” (Kershaw, 2000, p.89).

Hitler’s full scale invasion of Czechoslovakia was prevented by the Munich agreement with the leading European leaders which ceded the Sudetenland to Germany. Hitler seems to have been rather annoyed that the agreement prevented a full scale war, “’That fellow Chamberlain has spoiled my entry into Prague’, he was overheard saying on his return to Berlin after the agreement at Munich.” (Kershaw, 2000, p.164). Of course Hitler took the rest of Czechoslovakia in due course but it would seem that his thoughts were for war as early as 1938. The Munich agreement had confirmed in his mind that he could do what he wanted in East Europe and France and Britain would not interfere.

Hitler was committed to the reintegration of all German territories taken away after the First World War (at the Versailles treaty). “He wanted to right the wrong of the Versailles treaty”(Rees, 1997). “Hitler’s whole understanding of politics revolved around the experiences of German defeat in the first World War.”(Vogel, 1993,p.ix) The reacquisition of the Rhineland, Austria and the Sudetenland could certainly be seen as part of this plan. Indeed the future allied powers operated a policy of appeasement towards these acquisitions but with his proposed (and eventual) invasion of the rest of Czechoslovakia Hitler was showing his true colours. He was demonstrating that his intention was to make Germany the master of all Europe. To find living space for the German people and perhaps to wash away the stain of defeat left by 1918.

It is interesting to speculate that one of the reasons Hitler may have wished to invade Czechoslovakia may be to do with his childhood in Austria, where Czechs were disliked.

THE ECONOMIC CRISIS OF 1939

With the territorial acquisition of Austria and Czechoslovakia Hitler had eased economic problems somewhat. The unemployed from these additions to the Reich were put to work, new skilled labourers were available as were new supplies of raw materials and armament factories. Still the economy was problematic, by early 1939, the national debt had tripled since Hitler had come to power, and still consumer demand was rising due to the armaments boom.

By 1939 the economic difficulties at home were becoming increasingly noticeable. Part of the problem was finance, “During 1938 the money supply grew much faster than output. The Government desire to increase war expenditure led to a continued expansion of the Reich debt and a growing diversion of resources away from the consumer sector. The competition for resources under conditions of full employment, rising world prices and raw material scarcity led to a veiled inflation that was only repressed by the government’s strict enforcement of wage and price controls.” (Overy, 1982,p62)
As more armaments were made and full employment was reached people had money to spend but fewer consumer goods to spend it on. The government used its control to keep workers for rearmament. This meant that there were fewer consumer goods so what there were charged at a higher price leading to inflation. ~General Thomas pointed out to Germanys leading economist is 1939 that “We shall never defeat England with radio sets, vacuum cleaners and cooking utensils”(Mason, 1993,p.199) The consumer industry was now competing with the armaments industry not just for currency but also for manpower.

The rearmament policy had become a threat to the domestic economy. As the regime tried to nullify this threat by limiting consumption and controlling the worker they at the same time were aware of the fact that they could not piss the people off too much.

According to Kershaw Hitler ignored the rumblings of discontent and focused on his plans for conquest, for Kershaw, “this reflected a key feature of Hitler’s thinking: war as panacea. Whatever the difficulties, they would be –and only could be-resolved by war.” (Kershaw, 2000, p.187). Hitler had always been inclined to visions of grandeur, indeed his early success in the Rhineland had persuaded him that he had a pact with destiny. By 1939 his Megalomania had reached new heights “he frequently compared himself with Napoleon, Bismarck, and other great historical figures. The rebuilding programs that constantly preoccupied him were envisaged as his own lasting monument-a testament of greatness like the buildings of the Pharaohs or Caesars. He felt that he was walking with destiny. Such a mentality allowed little space for the daily worried and concerns of ordinary people. It was much the same when Schacht or Goring brought the deteriorating economic situation to his attention. Such problems were, in his view, a mere passing phenomenon, a temporary irritant of no significance compared to the grandeur of his vision and the magnitude of the struggle ahead. Conventional economics-however limited his understanding-would, he was certain, never solve the problems. The sword alone, as he had repeatedly advocated since the 1920’s, would produce the solution: the conquest of the ‘living space’ needed for survival.” (Kershaw, 2000, p.188) And it would be Eastern Europe and then Russia that would provide that living space.

POLAND

In 1939 Hitler turned to Poland. At first he used the German claim on Danzig and the corridor as an excuse, still saying that he just wanted to unite all German nationalists. With the return of the Polish territories “the whole Versailles Treaty is annulled”(Overy and Wheatcroft, 1989,p.54). His intention was for a total invasion of Poland in order to gain its raw materials, access to the Baltic Sea and to use its captive population as a cheap form of labour. England and France could not countenance German dominance of Poland and declared war. In the short term this didn’t stop Hitler for taking control of Poland with his new allies, Russia, the hated enemy. Hitler also signed a treaty with Russia whereby Russia would supply Germany with raw materials in exchange for various goods. Both countries “while milking the Polish land and people and appropriating grain and minerals wherever they could, immediately put into practice long-held colonisation plans, the Russians importing thousands of Soviet families, the Nazis-both more ambitious and far better organised-hundreds of thousands of ethnic Germans, mostly farmers.” (Sereny, 1995, p.211).

It is important to note that Hitler did not expect England and France to go to war over Poland. He expected them to try to appease him as they had done in Czechoslovakia. For this reason alone it is a moot point to suppose that he expected war in 1939. Or is it he was seeking it in 38 in Czech.

WHY DID HITLER LEAD GERMANY TO WAR?

For Kershaw “Economic pressures did not force Hitler into war. They did not even determine the timing of the war. They were, as we have noted, an inexorable consequence of the political decisions in earlier years” (Kershaw, 2000, p.162). For Kershaw Hitler’s focus on rearmament and his rejection of international trade (Germany needed to be as self sufficient as possible during the coming war) were part of preparing the economy for war, which for Hitler was inevitable for ideological reasons.

Alan Bullock argues that Hitler “meant to turn the energies and tension of the German people outwards and create a racist empire in the east at the expense of the Slav untermenschen (‘sub-humans’), with the psychological satisfaction as well as the material advantages of a Herrenvolk (‘master-race’). This programme was plainly set out in ‘Mein Kampf’ published in the mid-1920’s. Until he could carry out the rearmament to which he gave overriding priority, he had to lull suspicions abroad and keep the support of the conservative-nationalist forces in Germany. There was no timetable or blueprint of aggression; Hitler was both a gambler and an opportunist.”(Bullock, 1997,p.75)

Bullock sees the person of Hitler as paramount to the war. Without Hitler events would not have emerged as they did, “In such a situation, I believe it is possible for an individual to exert a powerful, even a decisive influence on the way events develop and the policies which are followed.” (Bullock, 1997,p.81) For Bullock the extraordinary circumstances of the time provide an opportunity for extraordinary individuals like Hitler to exert a dramatic (and in this case, Catastrophic) effect on the world. Germany’s war with the rest of Europe was inevitable then as the master race spread out.

Overy claims that “it is impossible to view Nazi policies for the economy in isolation. They form a unit inseparable in the end from the political and ideological purposes of the regime”(Overy, 1982,p.66) Overy places Hitler’s motivation in his personality, in this man who wanted to see “German domination in Central Europe”(Overy and Wheatcroft,1989,p.36) and reverse the judgement of Versailles. Overy looks very carefully at Hitler’s pre-WW1 life in Austria where he formed him hatred of Marxism and Judaism. Hitler here formed his view that what explained the course of history was not class struggle or national rivalries but the struggle for dominance between races, social Darwinism. War for him was a natural outcome of this competition between races.

Overy also places great importance on the notion of ‘Lebensraum’, living space. Hitler believed that living space was of key importance to a world power. Overy sees the war as very much a product of Hitler’s outlook “There can be little doubt that the world view outlined in ‘Mein Kampf’ shaped in all kinds of ways the choices Hitler made” (Overy and Wheatcroft,1989,p.30)

Hitler was aware of economic factors in Overy’s view. He recognises that the Nazi leaders knew they had to recognise the “importance of increasing German economic and political influence in Eastern and Central Europe where there were large resources of labour, land and raw materials.” (Overy and Wheatcroft, 1989,p.41) But Overy asserts that the economy was aimed at war preparation from the start. The Four year plan was deliberately intended to ready Germany for war with Russia at some time in the early 1940’s. “The timetable for the great war in the 1940’s was built into the rearmament plans.”(Overy and Wheatcroft, 1989,p.46)

So war was inevitable but why then according to Overy did war break out in 1939? He sees Hitler as having become bold as a result of his successful territorial acquisitions thus far so that when he made claims in Poland he thought that, just like at Munich, Britain would back off allowing him further preparation time for the inevitable showdown. Hitler believed that Britain and France were not as strong willed as Germans. The thought that democracy had made them weak. When Britain declared war, Hitler was reportedly “at a loss.” (Overy and Wheatcroft, 1989,p.60)

This is not to deny that for Overy and economic situation in 1939 had contributed to some degree to Hitler’s decision to make territorial demands in 1939. Even if he didn’t think war would actually be declared he may still have been persuaded by the economic situation to make his demands in Poland at that time.

Tim Mason is a commentator who’s “theoretical model is recast to allow for the primacy of politics over structural economic interests and antagonisms.” (Vogel, 1993,p.viii) That is for Mason the party controlled all social activity. Mason places primacy on the issue of the economic crisis, for him the pressures of an accelerating domestic crisis pushed the regime into the gamble of a premature war. “In a situation where the economic preparations for a sustained war effort lagged behind strategic requirements and where the policies aimed at the pacification of Germany’s working class had demonstrably failed, the pre-emptive strike of a war of territorial expansion and plunder offered the only escape route.”(Vogel,1993,p.xii) Mason see’s the Nazi regimes relationship with the working class as been of paramount importance, he claims that the working class refused to collaborate with the regime by acts of non-cooperation such as disruptive behaviour in the workplace.

Mason’s view see’s the workers as having a better bargaining position as with full-employment and yet still a deficit of workers in armament the workers could demand better conditions and wages. For Mason the dynamic between the Nazi party and the working class was paramount to Hitler’s decision to go to war in 1939. “The armaments sector had for quite some time been at a point where increased capacity could only be achieved at the expense of other branches of the economy-branches that had themselves profited from the armaments –led boom. It was high time for a planned redistribution of resources to replace an economic policy that had been basically interested in maximising productivity in all sectors simultaneously. The alternative was territorial expansion, which meant solving the problem at the expense of other countries and peoples.” (Mason, 1993, p.203)

Wednesday, 16 May 2007

Baudelaire, again.

Star of The Arcades Project; Baudelaire, maintained that his poetry was inspired by his many lovers-Jeanne Duval (The Black Venus), Mme. Sabatier (The White Venus), and Marie Daubrun (The Green-Eyed Venus). However his contemporaries speculated that, despite his many bouts with syphilis, Baudelaire died a technical virgin. He was, at the very least, impotent, according to Mme. Duval. Baudelaire revealed his true feelings about sex when he compared it to "torture, or a surgical operation."
Baudelaire was devoted to the Devil, declaring "Dear Beelzebub, i adore you!" A contemporary reviewer of Les Fleurs du Mal said of it "Never has there been such a procession of demons, fetuses, devils, cats and vermin."
Baudelaire suffered from depression from the age of 7 when his widowed mother married a young military man, Major Aupick, Charles' father having been many years older than his wife. All his life, Baudelaire was obsessed with his mother, who, at the urgings of the Major, froze his inheritance, making him penniless and even more depressed. Charles turned to pornography, hashish, morphine and alcohol. He made his first (of many) suicide attempt at the age of 21, stabbing himself in the chest while sitting in a Paris cafe, having left a note on the table that read, "I find the tedium of going to sleep and the tedium of waking up intolerable."
Baudelaire claimed to feel a kinship with fellow depressive poet Edgar Allan Poe, since they were both martyrs to a "barbarous realm equipped with gas fixtures.".
Baudelaire moved to Belgium where he found the people "loathsome and boring". He fell ill, returned to Paris, and died in his mother's arms. Only a handful of people attended his funeral, and they were dispersed by a thunderstorm.

Charles Thornton

Charles Thornton, owner and builder of both Thornton's Arcade and City Varieties is a difficult man to find information about. In a 1978 article in the Yorkshire Evening Post he is described as "a striking figure with a long white beard". Apparently he bought up land discretely not letting anybody know what he was up to, but he would actively court publicity when it was required.
When he died in 1881 he only got a 5 line obituary.

John Everett Millais




In the news today, Wednesday 16th May 2007:-



Tate Britain has announced a major exhibition of the work of John Everett Millais, one of the Pre-Raphaelites whom Ruskin championed. Millais was the Pre-Raphaelite whom Ruskin most admired and was a close family friend.

Above is a portrait of Millais’ 14 year-old sister-in-law, Sophie Gray, which some regard as “disturbingly sexy”. Sophie acted as go-between for Millais and Euphemia “Effie” Gray, Sophie’s sister and John Ruskin’s wife.

As TheLeedsArcadesProject has already seen; Ruskin’s marriage was annulled on the grounds of non-consummation, but it is far more likely that Effie left him for Millais. Effie and Millais met when he was painting her and Ruskin on a Scottish holiday. She modeled for his painting The Order of Release (seen above). As Millais painted Effie, they fell in love. Despite having been married to Ruskin for several years, Effie was still a virgin. In 1855, a year after her marriage to Ruskin was annulled Effie and Millais married, although they were never accepted in high society as a couple. Queen Victoria did however eventually agree to meet Effie in response to a deathbed plea from Millais.

The most tragic part of this story is the fate of Sophie Gray, who had acted as go-between. Sophie was enthralled by Millais, and, although she married someone else she never got over Millais and suffered from severe mental illness as a result. She eventually died young and mad.

Millais, Tate Britain begins September 26, 2007 and runs until January 13, 2008.

Tuesday, 15 May 2007

Brantwood No.3


TheLeedsArcadesProject decided to travel to Brantwood, Ruskin’s old home, in order to get a flavour of Ruskin’s Utopian ideals and a feel for his generosity of spirit. Brantwood seeks to “keep alive the memory of John Ruskin and to actively promote the relevance of his work in the modern world.” In this spirit we journeyed to this Mecca of humanism.



In the dining room MissLeedsArcadesProject and I were admiring Ruskin’s copy of Botticelli’s painting of Zipporah, daughter of Jethro, when the Room Guide joined us:

Room Guide: “Beautiful isn’t she?”
TheLeedsArcadesProject: “She is. I love Botticelli’s women. They are all so beautiful”
Room Guide (To MissLeedsArcadesProject, who is Taiwanese): “So, where are you from, are you Japanese?”
MissLeedsArcadesProject: “No, I’m from Taiwan”
Room Guide: “Ah, I’ve been there, back when I was in the forces. Phuket, lovely place. Of course there’s been a lot of trouble there…”
TheLeedsArcadesProject: “Er, no, Taiwan, she’s from Taiwan.”
Room Guide: “Ah, sorry, Taiwan. Right. Of course, they all look alike to me. I work up at Hill Top as well, the Beatrix Potter house, and it’s packed there with Japanese. The Japanese love it. Of course, they’re not all Japanese, but who can tell the difference? They all look the same. I call them all Japanese, it’s easier.”
TheLeedsArcadesProject: “Ah, er. So, Hill Top, I’ve heard a lot about it, is it really worth a visit?”
Room Guide: “Oh yes, it’s lovely, very busy though, and it’s so small you have to cue for a long time. The Japanese arrive by the coach load.”
TheLeedsArcadesProject: “Beatrix Potter is very popular in Japan and China, I believe. And Taiwan too”
Room Guide: “They really do all look alike to me, I can’t tell one from another. And look at blacks, I can’t tell them apart at all. I’m not racist, my best friends a half-caste, but they do look a lot more like monkeys than we do. There was something in the paper only this morning, showing how we evolved from apes and they used blacks as the, you know, halfway from apes to humans, er, whites, illustration. They do look like shaved apes.”
TheLeedsArcadesProject: “Well, er, i don't think thats true, and are you sure the paper did that?”
Room Guide: “Yes, yes. Oh, well. Anyway, we should all just get along though, don’t you think? There’s so much trouble in the world; wars and that, from different religions and different races and we should really all just get along. We’re all human after all. Do you know why there’s so much trouble in the world?”
TheLeedsArcadesProject: “Er, no.”
Room Guide: I’ll tell you: One word. One little word. Do you know what it is?”
TheLeedsArcadesProject: “Er, no, I don’t think I do”
Room Guide: “Greed. Greed. Well, greed and religion. That’s what’s causing all the problems in the world”
TheLeedsArcadesProject: “Ah, right, Yes, er, well anyway, we have to get on. On with the Ruskin.”

Monday, 14 May 2007

Baudelaire

Charles Pierre Baudelaire (1821 –1867) was an influential nineteenth century French poet and translator. He was born and lived most of his life, in Paris. For Benjamin, Baudelaire was a new kind of genius, a genius of allegorical poetry. One of the five chapters of The Arcades Project bears Baudelaire’s name and is devoted entirely to him.

Benjamin: “For the first time, with Baudelaire, Paris becomes the subject of lyric poetry. This poetry is no hymn to the homeland; rather, the gaze of the allegorist, as it falls on the city, is the gaze of the alienated man. It is the gaze of the flaneur, whose way of life still conceals behind a mitigating nimbus the coming desolation of the big city dweller.”

Baudelaire’s private life was especially interesting; for many years he had a long-standing relationship with a bi-racial woman, Jeanne Duval, whom he helped to the end of his life. He had recourse to opium, and drank to excess. He suffered a massive stroke in 1866 and paralysis followed. The last two years of his life were spent in various hospitals in Brussels and in Paris.

Friday, 11 May 2007

Ruskin in Bradford


Bradford’s Wool Exchange symbolises the great wealth and importance which Bradford had gained from the wool trade by the mid 19th century. It was completed in 1857 to the design of Lockwood and Mawson who also designed Saltaire for Sir Titus Salt. On the opening of The Wool Exchange, John Ruskin was invited to give a speech. As the leading art and architecture critic of the age Ruskin was expected to give a speech on the beauty and opulence of the new building, to flatter the good taste of the captains of industry. Ruskin, however, had other ideas:

“….I do not care about this Exchange,-because you don’t; and because you know perfectly well I cannot make you…..You are going to spend £30,000, which to you, collectively, is nothing; the buying of a new coat is, as to the cost of it, a much more important matter of consideration to me than building a new Exchange is to you. But you think you may as well have the right thing for your money…..and you send for me, that I may tell you the leading fashion; and what is, in our shops at the moment, the newest and sweetest thing in pinnacles.
But look strictly into the nature of the power of your Goddess of Getting-on; and you will find she is the Goddess – not of everybody’s getting-on – but only of somebody’s getting –on. This is a vital, or rather dreadful, distinction.”

Thursday, 10 May 2007

Georges Bataille was a d*ck.


This image of a torture victim from Taiwan fascinated the writer, surrealist, anti-philosopher and first owner of The Arcades Project, Georges Bataille. He thought that “the expression on the man’s face is the ecstasy of sexual pleasure”.
Georges Bataille was a d*ck.

Wednesday, 9 May 2007

Benjamin gets Romantic, again



Asja lay down on the bed. We kissed at length.
But the thing that excited me most was the touch of her hands.
I placed my right palm directly against her left one
And we stayed in that position a long time.

In 1924, his marriage in ruins, Walter Benjamin went to Capri where he met the Latvian actress, Asja Lacis (1891-1979), who worked with Bertolt Brecht. She introduced them and they became close friends. Benjamin spent several months on Capri, he was seduced by this Bolshevik woman and her talk of the Russian revolution which encouraged him to study Marxism. Asja would remain an important and lasting intellectual and erotic influence on Benjamin.

It was not long before Benjamin traveled to Moscow, to meet Asja. He found her sick in a sanatorium, having just had a nervous breakdown. Her child was also sick, and she was having two other affairs. One of them with Bernhard Reich, who had been selected to be Benjamin’s translator.

Asja was resident in Moscow, eking out a living as a journalist, Benjamin's Moscow Diary is the account of his masochistic love affair with this elusive object of desire. Above all, the Diary is the story of the triangle between Benjamin, Asja, and Reich.

At one point in the Diary Benjamin writes; “I am still holding out fairly well, it is because despite everything, I recognize Asja’s attachment to me. The long gazes she directs at me—I cannot remember a woman granting gazes or kisses this long—have lost none of their power over me”.

Tuesday, 8 May 2007

4th August 1914

On the 4th August 1914, at the moment Britain declared war on Germany, signalling the start of the First World War, in Berlin, outside the bohemian Café des Westerns, Walter Benjamin looked at his watch, “At that time, I did not yet possess that passion for waiting without which one cannot thoroughly appreciate the charm of a café.”
In Paris, Marcel Proust went to bed early.
In Prague, Franz Kafka wrote in his diary: “War started, went swimming”.
In England, Elizabeth, the Queen mother celebrated her 14th birthday.
In Vienna, Adolf Hitler was delighted: “I fell down on my knees and thanked heaven from an overflowing heart for granting me the good fortune of being permitted to live at this time”.

Friday, 4 May 2007

Anna May Wong


















The LeedsArcadesProject has looked at Orientalism in the writings of Flaubert, and the curious Oriental Striptease phenomenon of 1950’s music halls. The stereotyping of Oriental females in Hollywood films and in the wider culture has also been examined. No one represents this more than Anna May Wong (1905 –1961) the first notable Chinese Hollywood actress.

Born Wong Liu Tsong in Los Angeles, California, the daughter of a laundryman, Anna May began playing bit parts as a teenager in the early days of Hollywood. However her ethnicity prevented her from getting leading roles. Though her family had been in California since 1855, as a Chinese-American, Wong was considered "foreign" both through social prejudices of the time, and by law. Her family were disapproving of her choice of career; her father used to lock her up in her room to stop her going to auditions.
In the late 1920s, frustrated at being made to play too many characters with names like Lotus Blossom, Wong headed to Europe in search of more challenging roles. "I was so tired of the parts that I had to play. Why is it that the screen Chinese is nearly always the villain? And so crude a villain -murderous, treacherous, a snake in the grass. We are not like that. How could we be, with a civilisation that is so many, many times older than that of the West?" Her parts were almost always those of exotic oriental strippers or prostitutes. Often they were covertly a representation of social fears about interracial sex. It somehow sums up the way she is regarded that, for many, the most interesting fact about her film career is the story that she had an affair with Marlene Dietrich after appearing with her in Shanghai Express.

Wong never married though she reportedly was a mistress of film director Marshall Neilan amongst many others. She died alone at 56 from a heart attack.

Thursday, 3 May 2007

Ruskin, Proust, Benjamin

John Ruskin was a huge influence on the young Marcel Proust. Proust started reading Ruskin in 1895, took several trips to visit places described in his books, and started work on translating him at the end of the 1890s. He didn’t finish working on Sesame and Lilies until 1905, which means that he spent a decade immersed in Ruskin. It is said that Proust idolised Ruskin, and his relationship to Ruskin's work has been called a literary "Affair". The "Affair" passed through the phases of a love affair; infatuation, discipleship and disillusion. Proust wrote a book "On Reading Ruskin" and said of his grasp of the English language: “I don’t claim to know English; I claim to know Ruskin.”

In turn, Walter Benjamin translated Proust's A la recherche du temps perdu, into German, beginning in 1926. A Berlin publisher, had printed one volume of the first translation of Proust into German, but it was so unsatisfactory that he asked Benjamin to redo it and continue with it. However, the mechanics of translating Proust were secondary to Benjamin’s other motives; his desire to communicate “the profound and ambiguous impressions” with which Proust filled him. Benjamin also stated that his personal translational modus operandi was to use translation as a way of clarifying his perception of an author, something which his translations of Proust seemed to do.

Finally, Benjamin also produced an introduction to, and a translation of Léon Bloy’s lecture on Proust in Die literarische Welt, on the occasion of the thirtieth anniversary of Ruskin’s death.

In 1939, Benjamin tried to use his translations of Proust to support his application to be permitted to stay in France. He cited his Proust translations as part of his effort to promote French culture in Germany. This application was not successful.

Wednesday, 2 May 2007

Jeffrey Brown

Whilst we are on the subject of those modern day fetishisers of infantile power fantasies; the boys in OK Comics (19 Thornton’s Arcade). This Monday (May 7th) they have a signing session with Jeffrey Brown, called "the most versatile and innovative artist the comics medium has ever known". TheLeedsArcadesProject is glad to see an artist of Brown's caliber making an appearance in Thornton's Arcade, and maintaining its tradition as a purveyer of the most modern and sophisticated commodities. TheLeedsArcadesProject believes that Browns work truly embodies the Utopian spirit many of the first Arcades builders sought. Moreover, we feel sure that Brown would agree with Ruskin's assertion that "there is no wealth but life". Here are some examples of that great humanist spirit from Brown's latest published work:
























PSG-Prime says farewell

Let us return briefly to Thornton’s Arcade, Leeds, where the prostitution of the commodity-soul continues apace. TheLeedsArcadesProject was sorry to hear recently that PSG-Prime has left The Pen Shop (20 Thornton’s Arcade), and been replaced by an older woman. The boys of OK Comics, whenever they now look across the 4.5 metres of Thornton’s Arcade will now see only a dazzling cornucopia of writing instruments, no longer a dazzling display of female beauty.

County Arcade






















County Arcade, opened in 1898 is one of the most beautiful arcades in Leeds. It is linked to the Victoria Quarter, which stretches between Briggate and Vicar Lane. In 1898-1904 there was a complete redevelopment of this meat market slum area by Frank Matcham, better known for his designs of London music-halls like the London Palladium and the London Hippodrome. He designed a unified group of three blocks, each of three storey’s, with an attic.

The first block contains the T-plan County Arcade, 120m long with an opening off its north side, originally containing the County Restaurant. County Arcade, along with the adjoining Cross Arcade was built on the site of the White Horse Yard. It has flamboyant warm pink and buff terracotta facades elaborately decorated in a free Jacobean/Baroque style with swags, strap work and scrolls, Dutch gables, domes and corner turrets.

The interior of County Arcade was designed to symbolize the city's wealth and confidence and glows with exuberant decoration in pink marble, mosaic and Burmantofts faience. Mahogany shop fronts with curved glass display cases are separated by columns and pilasters of Sienna marble which carry balustraded balconies and stone ball finials.

The painted cast-iron roof has three glazed domes with richly-coloured and gilded mosaics in the pendentives. In the central dome full figures represent Leeds industries. The vaulted ceiling is of glass with three domes decorated with mosaic figures representing Liberty, Commerce, Labour and Art.

Wandering around County Arcade, and the Victoria Quarter, it is little wonder that The Rough Guide to England recently included a visit to The Leeds Arcades in its list of the top 20 things to do in England.

Tuesday, 1 May 2007

Yellow Fever


TheLeedsArcadesProject has looked at the unexpected Oriental Strip-tease phenomenon at Charles Thornton’s City Varieties and touched on the wider issue of Orientalism. Yesterday’s entry, with Max and Gustave enjoying the pleasures of an Egyptian whorehouse, was a wonderful example of early orientalist writing. Today TheLeedsArcadesProject will look at a more recent manifestation of Orientalism: Yellow Fever.
Increasingly these days we see many cases of “white guys” hanging around with “Asian girls”, they can be said to have "yellow fever", a sexual obsession felt by a non-Asian (usually white, usually male) towards Asians of the opposite gender. Symptoms of yellow fever include half-hearted attempts to learn Japanese/Mandarin/Korean and an interest in Eastern cinema.
What causes Yellow Fever? The stereotypes of oriental women are many; exotic, sexual, submissive, TheLeedsArcadesProject has already covered this point. It is also said that "Oriental women make the best wives." This mythology is exploited by the Oriental mail-order bride trade which advertises girls from "the exotic east, where men are king and girls are obedient and trained in the arts of pleasure."
Perhaps the earliest example of the idea of Yellow Fever is the play M. Butterfly by David Henry Hwang written in 1988. The play, based on a true story, is about a French diplomat who is seduced by a male Chinese spy pretending to be a female "Oriental" opera singer, by playing to the diplomat's stereotypical beliefs of how Chinese women should act. The play was made into a film by David Cronenberg in 1993.
Many object to the term Yellow Fever, claiming it is an attempt to marginalize white-Asian relationships as a type of pathology. The term is often used derisively and suggests an obsession that is desired compulsively and without reason.
Some also consider the term "Yellow Fever" to be racist, complaining that the people who use the term treat all cases of sexual attraction as objectification or fetishism, dismissing the possibility that white-Asian relationships are perfectly normal and socially healthy. Users of the term may be accused of being racists who unfairly hold up to greater scrutiny and criticism interracial relationships involving Asian people, and thus use the term to discourage these interracial relationships by stigmatizing them.