|
||||||||||
| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | |||||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |
java.lang.Object | +--net.sf.saxon.om.Axis
An axis, that is a direction of navigation in the document structure.
| Field Summary | |
static byte |
ANCESTOR
Constant representing the ancestor axis |
static byte |
ANCESTOR_OR_SELF
Constant representing the ancestor-or-self axis |
static byte |
ATTRIBUTE
Constant representing the attribute axis |
static java.lang.String[] |
axisName
Table giving the name each axis |
static byte |
CHILD
Constant representing the child axis |
static byte |
DESCENDANT
Constant representing the descendant axis |
static byte |
DESCENDANT_OR_SELF
Constant representing the descendant-or-self axis |
static byte |
FOLLOWING
Constant representing the following axis |
static byte |
FOLLOWING_SIBLING
Constant representing the following-sibling axis |
static boolean[] |
isForwards
Table indicating for each axis whether it is in forwards document order |
static boolean[] |
isPeerAxis
Table indicating for each axis whether it is a peer axis. |
static boolean[] |
isReverse
Table indicating for each axis whether it is in reverse document order |
static boolean[] |
isSubtreeAxis
Table indicating for each axis whether it is contained within the subtree rooted at the origin node. |
static byte |
NAMESPACE
Constant representing the namespace axis |
static byte |
PARENT
Constant representing the parent axis |
static byte |
PRECEDING
Constant representing the preceding axis |
static byte |
PRECEDING_OR_ANCESTOR
Constant representing the preceding-or-ancestor axis. |
static byte |
PRECEDING_SIBLING
Constant representing the preceding-sibling axis |
static short[] |
principalNodeType
Table indicating the principal node type of each axis |
static byte |
SELF
Constant representing the self axis |
| Constructor Summary | |
Axis()
|
| Method Summary | |
static byte |
getAxisNumber(java.lang.String name)
Resolve an axis name into a symbolic constant representing the axis |
| Methods inherited from class java.lang.Object |
clone, equals, finalize, getClass, hashCode, notify, notifyAll, toString, wait, wait, wait |
| Field Detail |
public static final byte ANCESTOR
public static final byte ANCESTOR_OR_SELF
public static final byte ATTRIBUTE
public static final byte CHILD
public static final byte DESCENDANT
public static final byte DESCENDANT_OR_SELF
public static final byte FOLLOWING
public static final byte FOLLOWING_SIBLING
public static final byte NAMESPACE
public static final byte PARENT
public static final byte PRECEDING
public static final byte PRECEDING_SIBLING
public static final byte SELF
public static final byte PRECEDING_OR_ANCESTOR
public static final short[] principalNodeType
public static final boolean[] isForwards
public static final boolean[] isReverse
public static final boolean[] isPeerAxis
public static final boolean[] isSubtreeAxis
public static final java.lang.String[] axisName
| Constructor Detail |
public Axis()
| Method Detail |
public static byte getAxisNumber(java.lang.String name) throws XPathException.Static
name
-
XPathException.Static
|
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| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | |||||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |


To generate the CS109 logo, we are going to throw half a million darts at a picture of the Stanford seal. We only keep the pixels that are hit by at least one dart. Each dart has it's x-pixel and y-pixel chosen at random from gaussian distributions. Let $X$ be a random variable which represent the x-pixel, $Y$ be a random variable which represents the y-pixel and $S$ be a constant that equals the size of the logo (its width is equal to its height). $X \sim \mathcal{N}\left(\frac{S}{2}, \frac{S}{2}\right)$ and $Y \sim \mathcal{N}\left(\frac{S}{3},\frac{S}{5}\right)$


Note: to get exact match text searches, wrap your search terms in quotes e.g. "Joe McArthur" or<EMAIL_ADDRESS>Tricks Manage email blacklist Manage bulk jobs Export Data Import Data See Stats Related sheets Write an email Refresh templates


[gecode-users] implementing branching heuristics
Oliver Kullmann
O.Kullmann at swansea.ac.uk
Fri Jun 6 21:55:21 CEST 2008
Hello,
based on my general theory of branching heuristics,
I would like to take some standard backtracking CSP solvers,
where I can just replace the variable ordering heuristics
(responsible for choosing the branching variable),
and there I would like to plug-in my generic
heuristics instead --- I expect relevant
performance gains.
The whole theory has been developed in the context
of SAT, but it is applicable for any width of
branchings (not just binary branchings), and this
is actually one of its strengths.
If somebody wants to read about it, please have
a look at report #7 at
http://www.swan.ac.uk/compsci/research/reports/2008/index.html
It should be fairly easy to apply my generic heuristics.
I looked a bit at Minion, but this looks too much
black-box to me.
I guess in principle with gecode it should be doable.
But the documentation is rather terse, and I also
couldn't find some standard solvers, where I just
would replace some functions regarding the heuristics.
Perhaps somebody can help me here?
Or, if somebody is interested, we could have a collaboration.
I actually expect a "quick victory", i.e., it should
be quickly implementable, and it should yield some
nice improvements under fairly general circumstances.
So, I hope somebody is interest in a
quick paper which will revolutionise CSP ;-)
Actually, I think it will be interesting.
Oliver
P.S. Another field for possible collaboration
would be library development: I am developing
the OKlibrary (http://www.ok-sat-library.org),
a generative library for generalised SAT solving.
In principle the OKlibrary covers also CSP,
but I'm yet "pre-alpha" :-(.
P.S.P.S. I noticed in the documentation
of gecode that "branchings" etc. are
used in a from my point of view somewhat
non-standard sense. I'm using "branching"
etc. as used by the SAT community and as
explained in my article, but this seems to
me also compatible to the notions used
in the Handbook of Constraint Satisfaction.
--
Dr. Oliver Kullmann
Computer Science Department
Swansea University
Faraday Building, Singleton Park
Swansea SA2 8PP, UK
http://cs.swan.ac.uk/~csoliver/
More information about the gecode-users
mailing list


Learning Quiz
What will happen when users push the actuator of a lotion pump?
The liquid in the bottle is pushed by some mechanism directly and enters in to the tube
Incorrect. Think it over?
view hints
The air in the chamber is pushed out of the actuator.
You're almost there! Try to find another correct answer!
Well Done!
view hints
view hints
The air pressure in the chamber firstly decreases, then increases to keep the balance.
Incorrect. Think it over?
view hints
The liquid that is already in the chamber is drawn from the chamber, through the stem and actuator, and dispenses out of the pump and onto the user’s hand
You're almost there! Try to find another correct answer!
Well done!
view hints
view hints
Submit


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The Devil's Advocate Starring: Keanu Reeves, Al Pacino, Charlize Theron, Craig T. Nelson and Jeffrey Jones Directed by Taylor Hackford Running approx 140 min.
Taylor Hackford has crossed over to the Dark Side. Perhaps he has tiptoed his way there with films like "An Officer and a Gentleman", "Against All Odds", and "Dolores Claiborne", but with his latest "The Devil's Advocate", there is no turning back.
He has assembled quite a fine group of talent for this twisted satire; Veteran Director of Photography Andrzej Bartkowiak, 8 time Oscar nominee Al Pacino, and special effects and make-up guru Rick Baker. Bartkowiak is of particular interest to this writer because of his extensive work with master filmmaker Sidney Lumet. Baker is known for his work on "The Nutty Professor", "Coming To America" and "Wolf" (as well as Michael Jackson's "Thriller" video.)
Reeves stars as a Florida Assistant DA turned defense lawyer Kevin Lomax who, after the realization of his client's guilt, decides to go for the gold and de stroy a key witness on the stand in a cruel and heartless manner. His unblemished record catches the eye of a major Manhattan law firm and it's senior partner John Milton, played by Al Pacino. Reeves and his wife (Charlize Theron, in a break-through role) are given the royal treatment and a glorious appartment on the upper west side. Lomax is the new ace of the firm, aided without question by the mysterious Milton, and is given a triple homicide trial. But as Lomax becomes more greedily involved in his case load, his neglected wife witnesses gruesome and violent scenes, from disembowelments to gruesome murders and flashes of demonic faces. Her visions lead to insanity, and Lomax is forced to choose between his wife and the case. We realize that Milton is indeed Satan, and is controlling the lives of this young couple, and virtually everyone else around him. (And Milton spelled backward is Notlim...think about it.)
This bold and daring film makes a number of interesting statements, some more obvious than others. It is no mistake that attorneys are chosen to represent evil here. They control the law, and the law controls us. But the movie is telling us that evil easily appeals to our vanity, and that our egos will give in. Even when we think we've managed to dodge it, or even stop it, evil remains, lurking around the corner.
"The Devil's Advocate" is dangerously close to an NC-17 rating. The violence is rather grotesque, but spread out in small amounts over two and a half hours, and thus not terribly overdone.  Demi Moore would have needed a lot more than $12 million to expose her breasts as long as some of the women in this film. Due to the extensive and intense dialogue, the intriguing storyline and the beauty of the cinematography (and again, a two and a half hour running time....) this can't be categorized as a horror film, but it comes close. Don't bring your 10 year olds, folks.
Pacino gives a top-notch performance as Lucifer. His loud, over-the-top actions that became so popular with his performance in "Scent of a Woman" are brought out again, this time in a much more devious and cocky manner. Pacino manages to get in a few chuckles from the audience as well. Indeed, this fine actor is worthy of another Oscar nomination. And you can certainly win for a bad-to-the-bone villian. Just ask Anthony Hopkins. Pacino certainly may once again be nominated twice in the same year for an Academy Award. Recall his performance as Lefty Ruggerio in "Donnie Brasco".
Reeves is trying so hard to show us that he really thinks he is a good actor, and he certainly manages to impress now and again. But as happens so often, the actor's power is lessened by his silly attempt at holding an uncomfortable accent. Reeve's southern accent, though always slight, flutters in and out so often, you just don't know who he is trying to be. This inconsistency really knocks a few points off of an otherwise superb performance. Theron plays Reeve's wife and may have just signed a letter of intent for stardom. Her sexuality and porcelain doll face make her the perfect victim for Satan to crush. Though she spends much of her time yelling and crying, she does a perfect job of portraying her frustration at not being able to communicate with her husband. Theron breaks to pieces in the film, but does so slowly and methodically, and really gives a grade-A performance. Jones and Nelson met with chuckles from the audience upon their first appearance on-screen. Obviously, "Mr. Rooney" and "Coach" were the first thoughts on the minds of many, but that shouldn't get in the way of these fine performances.
This twisted tale of sexual depravity and omnipresent evil makes for a good scare, and some deep thinking. Some of the visuals may be a bit harsh now and again, but it isn't overbearing. The editing is astonishing throughout. Mostly because it is so bad in some cases and so fantastic in others. But Bartkowiak's and Hackford's camera work is brilliant and worth a second look. The special effects are simple but un-aviodable. They make themselves apparent in every effects scene, however they don't ruin a thing. Rick Baker certainly leaves his mark. "The Devil's Advocate" doesn't need to be as long as it is. (Yes, two and a half hours.) Fifteen minutes could easily have been cut. But Pacino, Theron and even Reeves to some extent, as well as Bartkowiak's masterful work, and the exceptional Art Direction, make this a thrilling and creepy ride. It keeps you on your toes to the end. And when I say "end" I mean the final shot. Don't leave to go to the bathroom.
Three out of Four stars. Copyright (C) 1997 Nicholas Amado
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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review and has no editorial control. Unless stated otherwise, the copyright
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Related links: index of all rec.arts.movies.reviews reviews


dummy_data.Rd
Create a dummy data set
dummy_data()
Invisibly returns a MIP dataset with the following variables:
"Year" Numerics of sample year collect
"Country" String of country of sample collection
"Study" String of study name
"DHS_Cluster" Numeric of DHS cluster
"Lat" Numeric for latitude
"Long" Numeric for longitude
"Sample_ID" String for unique sample ID
"Chrom" Numeric for chromosome number
"Pos" Numeric for chromosome position
"Ref" Reference allele nucleotide
"Alt" Alternative allele nucleotide
"Coverage" Numeric for read coverage
"Barcode_Count" Numeric for count of barcodes matched to Ref
Fixed dummy data set. Mainly used for tests. For a more nuanced
dummy data set creation see generate_dummy_data
.
dat <- dummy_data()


Mehmet Vedat Tek (1873–1942) was a Turkish architect who was one of the leading figures of the First Turkish National Architectural Movement.
Of Cretan Muslim origin, Vedat Tek was born in Istanbul to the governor of Baghdad Province Giritli Sırrı Pasha and composer Leyla Saz as their second son. His older brother was Yusuf Razi Bel (1870–1947), who later became an engineer. After finishing Galatasaray High School in Istanbul, he was sent to France for higher education. He attended Académie Julian for studies in painting and then studied at the École Centrale Paris, graduating with a degree in civil engineering before he got his further education in architecture at the École des Beaux Arts in Paris. He thus became the first formally educated Turkish architect.
After returning home in 1897, Vedat Tek contributed with his projects to the forming of the first Turkish national architecture movement (Turkish: Birinci Ulusal Mimarlık) along with Mimar Kemaleddin Bey. He served awhile as the chief architect of the Engineering Corps at the Ministry of War. Later, Sultan Mehmet V appointed him chief court architect. He also gave lectures at Sanayi-i Nefise Mekteb-i (today's Mimar Sinan University of Fine Arts) and Mühendis Mekteb-i Alisi (today's Istanbul Technical University). Vedat Tek was one of the first Turkish lecturers at the Academy of Fine Arts.
Vedat Tek became popular as an architect because of his project for the Kastamonu Governor's Office (1902). He was appointed architect for the Ministry of Post and Telegraph in 1905. His main assignment was the Istanbul Main Post Office, his largest achievement in his architectural career.
Vedat Tek became the chief architect of the palaces after Sultan Abdul Hamid II left the throne in 1909 and was succeeded by Mehmed V. As such, he restored about 20 palaces. But when Mehmed VI became sultan, he was dismissed.
After the proclamation of the Republic of Turkey, Vedat Tek was called to Ankara. He built the second building for the Grand National Assembly of Turkey and the Gazi Pavilion there. While he was preparing plans for Ankara Palas, however, the project was taken out of his hands and given to Mimar Kemaleddin.
İzmit Clock Tower, İzmit (1901)
Kastamonu Governor's Office, Kastamonu (1901)
Istanbul Main Post Office, Sirkeci (1905–1909)
Istanbul Land Registry and Cadastre Building, Sultanahmet (1908)
House of Vedat Tek, Nişantaşı (1913)
Aviation Martyrs' Monument, Fatih (1914–1916)
Haydarpaşa Ferryboat Pier, Haydarpaşa (1915–1917)
Moda Ferryboat Pier, Moda, Kadıköy (1917) (used since July 1, 2001 as a restaurant)
Doğancılar Public Park, Üsküdar (1920)
Çankaya Gazi Mansion, Ankara (1924)
Second Turkish Grand National Assembly Building, Ankara (1924).[1][2] (used since October 20, 1980 as the Republic Museum)
Ankara Palas, Ankara - Designed in 1924 by him as Ministry of Health building, however completed in 1928 by Mimar Kemaleddin Bey as a hotel for the members of the Turkish Grand National Assembly. It is used today as an official state guest house.


Thebe Lab example: status button, styling, ...
Status:
This example illustrate the inclusion of a status button and some css styling.
print("Hello!")
1+1


From the newsletter ... |
|
Eggsperience EasterEvery year children look forward to eggs on Easter Day. I can remember looking for mine in the garden. Have you ever wondered why we eat eggs on Easter Day? The use of the egg as a Christian symbol goes back to the 4th century when eggs were forbidden during Lent. The problem with this is that much of Lent usually falls during early Spring, the peak time for hens to lay eggs. This led to the practice of hard boiling eggs during Lent and decorating them as gifts for children on Easter Day. It wasn't until Victorian times that John Cadbury made his first chocolate egg. The first creme egg dates from 1923. Perhaps it was the lack of creme eggs that made Queen Victoria's life so unamusing! The egg itself of course is a symbol of new life. Spring is a time for planting: a time for new shoots, new life. On Easter Day Jesus offers us precisely that - New Life. It is an opportunity for the 'old seed' within to die and a 'new seed' to take shoot. Jesus death on the cross and his resurrection on Easter Day offers us the opportunity of New Life in him. The resurrection is not the easiest thing to believe in, even the early disciples found it difficult but for those who take the trouble to investigate the events of Easter, the evidence is compelling. Will you rise to the challenge of Easter Day? Wishing you all a very Happy Easter Cogges Parish | Other articles | Previous issue | Feedback © 2001; Published in Cogges Parish monthly newsletter, number 261, April 2001 |


Passionate about creating, learning and growing through collaboration with others.
Associate of Arts at South Puget Sound Community College, 2005.
Bachelor of Arts at Western Washington University, 2009.
Associate of Science at Portland Community College, 2016.
ESL Instructor at AEON Japan, 2010 - 2011.
SIT TESOL Instructor at Kaplan International Centers, 2012 - 2014.
Dental Hygienist at Willamette Dental Group, 2016 - present day.
Email: brittdevelopsit@gmail.com


{% extends "layout-v2-patient.html" %} {% block pageScripts %} {% endblock %} {% block pageTitle %} NHS Cervical screening management system {% endblock %} {% block header %} {% include '../../components/header.html' %} {% endblock %} {% block content %}
Download CSVs once the results from the file have been actioned.
Download summary CSV Download Personal identifiable data CSV Download lab CSV| Lab code | Date and time | File name | Total results received | Total results automatic matched | Total partial hits | Total non hits | Total error rejections | Total policy rejections | Automatic QA check |
|---|---|---|---|---|---|---|---|---|---|
| 12345 | 16-09-2021 11:30:10 | File 1 | 8000 | 5600 70% | 2340 | 33 | 12 | 15 | CORRECT |
Data on the manual summary table may change until the file is completed.
| Total results to process | To process outstanding | To query outstanding | To check outstanding | Rejected outstanding | Total checked manual matches | Total checked dummy registrations | Total checked rejections removed | Total checked rejections resolved |
|---|---|---|---|---|---|---|---|---|
| 2400 | 0 | 3 | 0 | 6 | 2368 29.6% | 11 | 7 | 5 |


Context Parameters
Tables with Google Sheets
Using icons in Questions
Remote Deployments of new Versions
Using Bottom-Sheets
Settings Component
Growth Monitoring Displays
Vaccination Component
Workflow in Processes
Yellow Flags
Reading and Writing NFC tokens
Using Simprints Fingerprint Scanner
Calling one Process within Another
App Configuration
Modules
Exporting Process Logic to PDF
Retrieving objects from the database
Screens
Bounds


This was a triumph. I'm making a note here: HUGE SUCCESS. It's hard to overstate my satisfaction.
Aperture Science: We do what we must because we can for the good of all of us except the ones who are dead
But there's no sense crying over every mistake, You just keep on trying 'till you run out of cake, And the science gets done and you make a neat gun, For the people who are still alive
I'm not even angry, I'm being so sincere right now, Even though you broke my heart and killed me, And torn it pieces, And threw every piece into a fire, As they burned it hurt because I was so happy for you! Now these points of data make a beautiful line And we're out of beta, we're releasing on time So I'm glad I got burned Think of all the things we learned For the people that are still alive
Go ahead and leave me I think I prefer to stay inside Maybe you'll find someone else to help you Maybe Black Mesa That was a joke, ha ha, fat chance Anyway this cake is great, it's so delicious and moist
Look at me still talking, when there's science to do When I look out there it makes me glad I'm not you I've experiments to run, there is research to be done On the people who are still alive
And believe me I am still alive I'm doing science and I'm still alive I feel FANTASTIC and I'm still alive While you are dying I'll be still alive And when you're dead I'll be still alive
STILL ALIVE
still alive


---
layout: default
title: Practice Scraping WeakestLink
div_id: link
permalink: /link/
---
Fargo, ND | Computer Software
| Current | PyPros - Automate Anything |
|---|---|
| Previous | Stoneridge Software, CampusPress |
| Education | Concordia College |
By day, I'm a program manager for a Microsoft Gold Partner. I've consulted with businesses large and small on ERP and CRM implementations, and currently am building software to help improve the efficiency of the agriculture industry.
By night, I am a Python developer and teach others the wonders of automation in their jobs, businesses, and every day lives!
October 2017 - Present | Online & Everywhere
Teaching the world to automate, one task at a time.
January 2018 - Present | Fargo, North Dakota area
Building business solutions for agriculture.
2005-2009
Controller at Empire Capital
Public Relations at Rebel Collective
Retired
Owner at Mining Operations, Inc.
Self-Employed


With the surge of AI technology and increasingly available city data, governments and industries are now actively seeking solutions to improve the transportation system.
At the same time, with the recent success in reinforcement learning techniques, we see an increasing interest in academia to use reinforcement learning to improve traffic signal control. However, the vast majority of papers tested only on a single artificial dataset created by the proposing authors themselves. What's more, most existing machine learning approaches tend to ignore classic transportation approaches. The proposed methods lack a theoretic ground and a good comparison with existing transportation approaches. Complicated machine learning techniques sometimes may not outperform simpler transportation approaches.
This website hopes to facilitate this interdisciplinary research direction by offering comprehensive dataset, simulator, relevant papers and survey to anyone who may wish to start investigation or evaluate a new algorithm.
[arXiv:1904.08117] Hua Wei, Guanjie Zheng, Vikash Gayah, and Zhenhui Li. A Survey on Traffic Signal Control Methods.
[KDD’18] Hua Wei, Guanjie Zheng, Huaxiu Yao, and Zhenhui Li, IntelliLight: A Reinforcement Learning Approach for Intelligent Traffic Light Control
[arXiv:1905.04716] Guanjie Zheng, Xinshi Zang, Nan Xu, Hua Wei, Zhengyao Yu, Vikash Gayah, Kai Xu, and Zhenhui Li. Diagnosing Reinforcement Learning for Traffic Signal Control.
[KDD'19] Hua Wei, Chacha Chen, Guanjie Zheng, Kan Wu, Vikash V. Gayah, Kai Xu, and Zhenhui Li, PressLight: Learning Max Pressure Control to Coordinate Traffic Signals in Arterial Network.
[CIKM'19a] Guanjie Zheng, Yuanhao Xiong, Xinshi Zang, Jie Feng, Hua Wei, Huichu Zhang, Yong Li, Kai Xu, and Zhenhui Li, Learning Phase Competition for Traffic Signal Control
[CIKM'19b] Hua Wei, Nan Xu, Huichu Zhang, Guanjie Zheng, Xinshi Zang, Chacha Chen, Weinan Zhang, Yanmin Zhu, Kai Xu, and Zhenhui Li, CoLight: Learning Network-level Cooperation for Traffic Signal Control
[CIKM'19c] Yuanhao Xiong, Guanjie Zheng, Kai Xu and Zhenhui Li, Learning Traffic Signal Control from Demonstrations
[ICDE'20] Guanjie Zheng, Hanyang Liu, and Zhenhui Li, Inverse Reinforcement Learning for Objective-centric Traffic Simulation
[WWW'19] Huichu Zhang, Siyuan Feng, Chang Liu, Yaoyao Ding, Yichen Zhu, Zihan Zhou, Weinan Zhang, Yong Yu, Haiming Jin, and Zhenhui Li, CityFlow: A Multi-Agent Reinforcement Learning Environment for Large Scale City Traffic Scenario
| # | Name | Number of intersections | Referred Result | Refered method |
|---|---|---|---|---|
| 1 | hangzhou_1x1_bc-tyc_18041607_1h | 1 | 221.03 | SOTL |
| 2 | hangzhou_1x1_bc-tyc_18041608_1h | 1 | 334.72 | SOTL |
| 3 | hangzhou_1x1_bc-tyc_18041610_1h | 1 | 213.20 | SOTL |
| 4 | hangzhou_1x1_kn-hz_18041607_1h | 1 | 72.48 | SOTL |
| 5 | hangzhou_1x1_kn-hz_18041608_1h | 1 | 64.10 | SOTL |
| 6 | hangzhou_4x4_gudang_18041610_1h | 16 | 240.97 | MaxPressure |


When elements has to be repeated dynamically based on data from context, then loops play major role.
{ "containers": [ { "@for-each(cont)": "containers", "name": "${cont}", "desc": "This is container ${cont}" } ] }
In above example, a loop variable "cont" is used and within current object it can be accessed as a context variable. And it loops through the context value returned by "containers".
{ "containers": [ { "@for-each(cont)": "containers", "name": "${cont}", "desc": "This is container ${cont}" } ] }
In above example, a loop variable "cont" is used and within current object it can be accessed as a context variable. And it loops through the context value returned by "containers".
{ "fullContainers": { "@fmarker: cont": { "@for-each(cont)": "containers", "days": "100" } } }
In above example, the element will generate key-value pair for every element returned by "cotainers" expression. And the key of generated entry, uses container name itself. So if "containers" returns 3 elements, then in final json "fullContainers" will have 3 entries with container name as key and "days=100" as the map entry.
{ "containers": { "@fmarker: cont": { "@for-each(cont)": [ "bank", "investment", "card" ], "days": "100" } } }
In this case a simple json list can be specified as shown below for looping.
{ "containers": { "@fmarker: cont": { "@for-each(cont)": [ "bank", "investment", "card" ], "@for-each-condition": "isEnabled(cont)", "days": "100" } } }
Within the loop the object inclusion and exclusion can be done using @for-each-condition which will be evaluated for each iteration.


Replaces all parameters of selected method or closure with map. Accordingly, replaces parameter occurrences with appropriate entries of new map argument.


Syntax:
mask-field bytespec integer => masked-integer
(setf (mask-field bytespec place) new-masked-integer)
Arguments and Values:
bytespec---a byte specifier.
integer---an integer.
masked-integer, new-masked-integer---a non-negative integer.
Description:
mask-field performs a ``mask'' operation on integer. It returns an integer that has the same bits as integer in the byte specified by bytespec, but that has zero-bits everywhere else.
setf may be used with mask-field to modify a byte within the integer that is stored in a given place. The effect is to perform a deposit-field operation and then store the result back into the place.
Examples:
(mask-field (byte 1 5) -1) => 32 (setq a 15) => 15 (mask-field (byte 2 0) a) => 3 a => 15 (setf (mask-field (byte 2 0) a) 1) => 1 a => 13
Side Effects: None.
Affected By: None.
Exceptional Situations: None.
See Also:
Notes:
(ldb bs (mask-field bs n)) == (ldb bs n) (logbitp j (mask-field (byte s p) n)) == (and (>= j p) (< j s) (logbitp j n)) (mask-field bs n) == (logand n (dpb -1 bs 0))


Access Provided by The University Of Texas at Austin, General Libraries at 07/05/12 8:05PM GMT
Marcel Proust’s In Search of Lost Time (À la recherche du temps perdu) is permeated with allusions to many periods and places in the Near, Middle, and Far East.1 The Arabian Nights, the Persian look of the church at Balbec, Marcel’s fascination with the eastern-inspired architecture and stones of Ruskin’s Venice, and France’s Jewish heritage, mapped in Swann, Bloch, and Gilberte and refracted through a contested national imaginary in the Dreyfus case: all trace France’s continuities with southwest Asian history and culture. A period French orientalism surfaces in such details as Madam Cottard’s comically clueless anecdote about the “salade japonaise” of Dumas fils’ new play, Francillon, at a Verdurin dinner party; the Baron’s japoniste fan painting; the narrator’s word paintings of landscapes and seascapes after Japanese screens and prints; and Odette’s “very odd little house full of Chinese things,” as one of her myriad former lovers remembers it: a very Parisian courtesan’s potpourri of Oriental draperies, Turkish beads, gas-lit Japanese lanterns, silk cushions, chrysanthemums, palms in Chinese porcelain pots, fans, “fierytongued dragons” on a bowl or fire-screen, a silver dromedary with ruby eyes, and a carved jade toad. There, in a “pink silk dressing gown,” Odette first receives Swann for “afternoon tea” (adulterated with cream English-style), which they both feel, perhaps for different reasons, to be “something precious.”2 Not least, Luc Fraisse and Jan Hokenson observe, the overture of this work of art rises from “a japoniste cup of tea” as the narrator likens the sudden apparition of his childhood Combray to tiny Japanese folded papers which, dropped into a porcelain bowl of water, bloom into “flowers or houses or people, solid and recognisable.”3
modernism / modernity volume nineteen, number two, pp 227–254. © 2012
the johns hopkins university press
Christine Froula is professor of English, Comparative Literature, and Gender Studies at Northwestern University. She has published widely on interdisciplinary modernism, including Virginia Woolf and the Bloomsbury Avant-Garde and Modernism’s Body: Sex, Culture and Joyce. Current projects include Reading Joyce’s Ulysses: Poetics and Politics of the Everyday, Modern Time, and Acts of Imagination: Ethos, Ethics, Artmaking.
228 It would be easy enough, Hokenson remarks, to dismiss the European Orients of the Recherche “as yet another modernist’s Orientalism, trite and faintly racist” (20). It would be easy, too, to see them as part of the given world brought forth by the narrator in all its inexhaustible particularity, here with exquisite description, there with Daumieresque comedy, again with grim or tragic irony, so that readers can say “whether ‘it really is like that,’ . . . whether the words that they read within themselves are the same as those which I have written” (ISLT, 6:508). In that case, such effects of “otherness” would be remarkable not as tokens of static essences but in their unbounded translatability as figure (“it really is like that”) and abstraction.4 Further, like that cup of limeblossom tea, any detail of Proust’s book may become translucent to historical depths: what appear to be solid objects may melt into the temporal flow of the conditions, things, and events that produced them. Hokenson, for example, traces Proust’s cup of tea to the late nineteenth-century milieu of the Goncourts and the Impressionists, when French japonisme was no passing fad but “the discovery of a new aesthetic continent” at a critical moment in western mimetic traditions—a “revolution in European aesthetics” of “Copernican proportions” that reaches its summa in Proust’s masterly use of the Japanese aesthetic.5 As for Proust’s southwest Asian themes, André Benhaïm, reading the Recherche from a postcolonial vantage, finds that “Proust’s Orient owes little to Orientalism” but rather works to “disorient” racialized ideas of France, Frenchness, and the nation. In a new century of nationalist violence and ethnic persecution, the Recherche captures influences from far beyond France’s borders to conjure a “vision of a past that . . . looks forward to the present, and beyond.”6 Such readings illuminate the way the Recherche opens not only the nation’s geographic borders but the very categories of the French, the European, the western to the circulating currents of historical process and a dynamic global imaginary. Rather than betokening an essentialized “East,” the Orients of the Recherche register what Ezra Pound called “the ‘new’ historic sense of our time.”7 Pound extends to Far Eastern cultures T. S. Eliot’s Eurocentric description of a writer’s “historical sense,”
a perception, not only of the pastness of the past, but of its presence; . . . a feeling that the whole of the literature of Europe from Homer and within it . . . the literature of his own country has a simultaneous existence and composes a simultaneous order. This . . . sense . . . of the timeless and of the temporal together . . . makes a writer traditional [and] at the same time . . . acutely conscious of his place in time, of his contemporaneity.8
This “‘new’ historic sense” of the contemporaneity of world literature and culture, and of “tradition” as at once dynamic—sustaining within it complex, ever-changing historical conditions and relations—open, and “whole,” its order altered by every addition, belongs to a global cultural imaginary produced by burgeoning technologies, travel, and trade. It is not inherited, Eliot stipulates, but attained by “great labour,” and, Pound emphasizes, it is “new,” if at all, only as it is perpetually made new.9 Artists have long labored on a more or less rapidly shrinking globe of interpenetrating cultures, arts, and technê or know-how, working in métiers and traditions of which any given state or product implies the dynamic, collective, cumulative labor that produced it. The 229 various new aesthetics of early twentieth-century Europe register not just breaks and continuities but global historical processes—cross-fertilization, assimilation, creative adaptation, indigenization, translation, and making-new, within and across locally differentiated traditions, through centuries of uneven modernities—to the point that there hardly exists a purely European or western aesthetics.
Proust’s China has attracted less attention than his Japan and is sometimes sacrificed to it. Proust’s magisterial biographer Jean-Yves Tadié writes that when Proust went looking for China at a 1911 exhibition of Chinese paintings at the Durand-Ruel gallery, “all he found was a hat. . . . Chinese art did not appeal to Proust and only appears in his novel on Mme Verdurin’s and Odette’s screens, and on the plates in the Goncourt parody in Le Temps retrouvé.”10 Fraisse does not exclude Chinese art from Proust et le japonisme but emphasizes “the dominant of the epoch.”11 Hokenson, arguing that Proust’s “artist-figures . . . rise or fall in japoniste terms,” excludes Chinese art from the novel’s “counter-system of non-European aesthetics” and sees the writer Bergotte, accused of “chinoiseries de forme,” relegated with his generation to “an arid Orientalism, quite notably not japoniste.” In her view, the likening of Vermeer’s yellow wall to “a specimen of Chinese art” signals the dying Bergotte’s “superficial” Orientalism, which reveals to him “the pointlessness and aridity of all art, including his own.”12
Yet the Orients of the Recherche are not one but many, and Proust’s allusions operate within a poetics that Malcolm Bowie characterizes as “multifarious, iridescent, and flighty,” not easily disciplined to ideological and aesthetic programs.13 Without seeking to reduce Proust’s China to apparent homogeneity or to weigh its comparative value, I approach the allusion to Chinese art in Bergotte’s death scene as a signature manifestation of early twentieth-century artists’ “new” historic sense. This scene and the meditation that encloses it align an unknown Chinese artisan with the seventeenth-century Dutch master Jan Vermeer, the novelist Bergotte, inspired by Anatole France, and, implicitly, the scene’s author to project unique dimensions of the spatiotemporal hologram that is the Recherche. Taking Chinese art and Vermeer’s View of Delft as epitomes of craft, the scene evokes the historical circulation of Chinese technê, inseparable from the global trade of a nascent European modernity, and frames a deep, world-historical awareness of craft within pre- and post-human cosmic time. Adapted from a contemporary art critic, Proust’s allusion to Chinese art registers a modernity not period-bound but borne through time and across cultures by the high craft Bergotte fears he has failed to attain.
In Search of Lost Time is, of course, all about time: the organic human lifetime; phenomenological, psychological, experiential time; the social, cultural, and archaeological time of history and historians; the nonlinear temporality of memory, voluntary and involuntary; cyclic, physical or natural time; the deep cosmological time probed by modern science; the life, in and out of time, of a work of art. All these temporal vectors traverse the famous scene—a partly autobiographical late addition to The Captive, volume five of In Search of Lost Time—in which the novelist Bergotte expires while contemplating Vermeer’s celebrated View of Delft (fig. 1).14 Vermeer’s work had been brought to wide attention in the mid-nineteenth century after two centuries of relative obscurity. Thus, Christiane Hertel notes, his European reception evolved during the formative period of modern aesthetics, in which orientalisms of many kinds played crucial parts.15 The invocation of Chinese art as Bergotte contemplates Vermeer’s painting deepens the scene’s synchronic array of the temporalities of art and artmaking—the mysterious translation of life, or lived time, into a work of art; the historical conditions and processes of its making and reception—in different eras bounded by a vast inhuman past and future. In Bergotte’s death scene, Proust’s historic sense converges with his great theme of time in a meditation that registers China’s profound influence on European arts and crafts during Vermeer’s century, when the Dutch (United) East India Company—the Verenigde Oostindische Compagnie or VOC—rose to dominate global trade. To look at Vermeer’s painting through Proust’s historicist lens is to glimpse through Paris, Delft; through Delft, Shanghai, Jingdezhen, Hangzhou, interconnected by the trade routes that carried around the globe China’s technologically advanced artifacts—not least, the treasured porcelains of which Far Eastern artisans alone then possessed the secret.16
In the last sentence of the Recherche, the narrator pictures human beings as temporal giants tottering on ever higher stilts atop their increasing years, their “place in Time infinitely greater than the tiny one reserved for them in space, immeasurably 231 prolonged” by the hours, days, years, and distant periods through which they have lived (ISLT, 6:531–2). Bergotte’s dying thoughts extend this spatial image of a life in time to the temporal strata of cultural history, opening into the prior modernities of Vermeer’s century of unprecedented maritime travel and trade and of a deep Chinese aesthetic culture then far in advance of relatively young, crude, upstart Europe.17 Spanning the centuries from a China at once ancient and modern to Vermeer’s early modern Delft to twentieth-century France to a posthuman future is the idea of a work of art that comes into existence by superb craft and may survive its mortal maker.
To examine the ways Proust’s historic sense shapes Bergotte’s death scene is to experience In Search of Lost Time as something like an encyclopedic hologram in which, like the glass jars plunged into the waters of the Vivonne, things become transparent to time—the now-stilled time of their making and the moving time flowing through and around them (ISLT, 1:237). The genesis of this scene about the temporalities of art, and the various chances, choices, circumstances, and events that contributed to its making, are well known.18 Proust’s diplomat friend Paul Morand wrote that he had insisted that the Dutch organizers include the View of Delft in the Paris exhibition of “Golden Age Masterpieces” so that Marcel could see it again (“But you’ll have to get out of bed”).19 When the exhibition opened at the Jeu de Paume in April 1921, there it was. On May 1, Proust read the first installment of Jean-Louis Vaudoyer’s three-part review of the exhibition, titled “The Mysterious Vermeer,” and wrote the critic an admiring letter from the workbed he seldom left.20 On seeing the View of Delft in the Hague in 1902, he told Vaudoyer, “I knew that I had seen the most beautiful painting in the world”; “In Swann’s Way I couldn’t keep myself from having Swann work on a study (étude) of Vermeer. . . . And yet I know almost nothing about Vermeer.”21 On May 14, after reading part three, Proust wrote Vaudoyer, “it is marvelous,” singling out Vaudoyer’s remarks on Vermeer’s The Art of Painting (fig. 2): “This artist who turns his back so as not to be seen by posterity and who will not know what it thinks of him is an admirably poignant idea. You know that Vermeer is my favorite painter since I was twenty and among other signs of this predilection I had Swann writing a biography (biographie) of Vermeer in Swann’s Way in 1912.”22 (It is no accident that Swann’s étude becomes a biographie at the moment when Vaudoyer evokes for the author of Contre Sainte-Beuve a Vermeer who paints himself with face averted, as if to know little or nothing of the artist’s life—and Proust confesses he knows “nothing,” while Vaudoyer observes that there is almost nothing to know—is to know all that matters.23) Some days later he asked Vaudoyer to accompany him to two exhibitions, “Ver Meer et Ingres.”24 Vaudoyer obliged, and these Vermeer fans, artist and critic, stood together before the View of Delft.
Proust had begun fashioning Bergotte’s illness some weeks before he visited the exhibition, a year before he wrote “Fin” in his last manuscript book, and eighteen months before his own death while still revising.25 After seeing the painting with Vaudoyer, he transmuted this experience into his character’s. Bergotte, like Proust, is ill with uraemia and confined to his bed:
▲
Fig. 2. Johannes Vermeer, The Art of Painting, c. 1662–1668. 120 x 100 cm. Kunsthistorisches Museum, Vienna. Reproduced from Gustave Vanzype, Jan Vermeer de Delft. Bruxelles, Paris: G. van Oest, 1908, revised 1921, 1925.
But, a critic having written that in Vermeer’s View of Delft . . . a little section of yellow wall [un petit pan de mur jaune] (which he could not remember) was so well painted that it was, if one looked at it by itself, like a precious Chinese work of art [comme une précieuse œuvre d’art chinoise], of a beauty that was sufficient in itself, Bergotte . . . went to the exhibition. . . . At last he came to the Vermeer which he remembered as more striking, more different from anything else he knew, but in which, thanks to the critic’s article, he noticed for the first time some small figures in blue, that the sand was pink, and, finally, the precious substance (la précieuse matière) of the tiny section of yellow wall.26
Much ink has flowed in the debate over which little section of yellow wall Bergotte 233 fixes on “like a child upon a yellow butterfly that it wants to catch.” Less attention has been paid to Proust’s treatment of the detail that rouses Bergotte from his bed: not the rose-gold sand and figures in blue that he also notices “thanks to the critic” but the yellow wall “so well painted that it was, if one looked at it by itself, like a precious work of Chinese art.” Proust’s passage credits this detail to “a critic,” and after Proust’s death Vaudoyer recalled that Proust had been “struck by the passage about the ‘little patch of yellow wall’” in his review.27 Perhaps Vaudoyer did remark on it when the two of them viewed the painting together; but in fact the yellow wall that flutters like a butterfly through the scene’s text appears only in the Recherche, not in the review.28 In his passage on the View of Delft, Vaudoyer writes that outdoors the painter was “as faithful as a camera,” so that in black-and-white reproduction the painting might seem hardly more striking than “a very good photograph”:
But once one has contemplated the original, the memory (souvenir) one keeps of it transfigures any reproduction; and soon a feast of colors, light, and space sweeps through your memory (mémoire). You see again (revoyez) this stretch of rose-gold sand that takes up the first plane of the canvas, where a woman in a blue apron creates around her, by this blue, a sublime harmony; you see again the dark moored barges; and these brick houses, painted in a material so precious (matière si précieuse), so massive, so full, that if you isolate a small surface of it while forgetting the subject, you believe you have ceramic (de la céramique) before your eyes as much as paint.29
As Vaudoyer likens Vermeer’s brick houses to “precious . . . ceramic,” Proust likens a plane of yellow wall to “a precious Chinese work of art.”30 To borrow a term from poker (probably invented in China), Proust sees Vaudoyer’s brick houses and raises him one yellow wall.31 At the same time, Proust fuses Vaudoyer’s ceramic with a later passage in his review: “There is in Vermeer’s craft (métier) a Chinese patience, an ability to hide the minutiae and work processes that one finds elsewhere only in the paintings, lacquers, and carved stones of the Far East”; by this craft Vermeer’s painting makes us “think of things one can touch, like enamel and jade, lacquer and polished wood” (“MV,” 3:543). In a letter written about a year after their excursion, perhaps while he was at work on this scene, Proust again freely echoes Vaudoyer’s comparisons of Vermeer’s houses to Far Eastern art objects: “I keep the luminous memory of the only morning that I saw once more, when you kindly guided my staggering steps very close to that Vermeer in which the gables of the houses ‘are like precious Chinese objects.’”32
What to make of the absent, unspecified Chinese treasure to which Proust, inspired by Vaudoyer, compares a famous European painting? Vaudoyer not only invokes no particular Chinese artwork but compares Vermeer’s painted houses to ceramic material (de la céramique), not even an object; and he further abstracts this “precious” substance into the superb craft metonymically signalled by a “Chinese patience” that hides the labor of production, sensed (almost literally: “things one can touch”) in Far Eastern art objects.33 Proust follows Vaudoyer in comparing Vermeer’s “gables” to “‘precious Chinese objects’” (letter) and the yellow wall (absent from the review) to “a
234 precious Chinese work of art” (Recherche), and in highlighting “the precious material of the tiny section of yellow wall” (la précieuse matière du tout petit pan de mur jaune, ARTP, 3:692) to evoke the technical brilliance before which Bergotte stands dizzy and abashed: “‘That’s how I ought to have written. . . .  How, then, does Chinese art become the epitome of high craft in both Vaudoyer’s review and a scene depicting a French novelist gazing at a Dutch masterpiece? Vaudoyer’s mention of ceramic, and his attribution of a mysterious craft exclusively to Vermeer’s paintings and Chinese art, offer clues to what I am framing as Proust’s historicist China.34 Associated as it is with the rarest craft, Vaudoyer’s “precious . . . ceramic” evokes what was, in Vermeer’s time and indeed for more than a millenium, the hidden art of porcelain. Chinese (and later, through them, Korean and Japanese) artisans alone possessed the knowledge of this art from the seventh century to the first decade of the eighteenth, when, after long effort, European craftsmen succeeded in fabricating this elusive “white gold” (figs. 3, 4).35 Indeed, one translator renders Vaudoyer’s “précieuse . . . céramique” as “porcelain.”36 Emerging during the Tang dynasty (618–906 CE) from two thousand years of ceramic and stoneware craftsmanship, porcelain fabrication required rare raw materials, sophisticated formulae, abundant fuel, and advanced high-firing technology and technique; and its makers possessed deep sculptural and decorative traditions and skills.37 Treasured for their hardness, translucency, impermeability, and beauty, the rare products of this mysterious art became central to Eurasian trade and cultural exchange. Porcelain traveled along the Silk Road to Southwest Asia; after Vasco da Gama discovered a sea route to India, Robert Finlay writes, it became “a truly worldwide commodity,” “influencing all ceramic traditions it encountered, from Japan and Java to Egypt and England” and incorporating influences in turn: “For more than a thousand years, porcelain was both the most universally admired and the most widely imitated product in the world” as well as “a prime material vehicle for the assimilation and transmission of artistic symbols, themes, and designs across vast distances” (13, 5–6). Porcelain reached Europe by the fifteenth century and was coveted by royals, potentates, and humanist scholars as a precious substance “not to be believed,” “more exquisite than crystal,” for their collections of rare and marvelous things.38 In the first decade of the seventeenth century, Dutch traders captured two Portuguese ships laden with tens of thousands of porcelains and auctioned them in Amsterdam, launching this modern commodity on the European market (fig. 5).39 Throughout Vermeer’s lifetime, Chinese porcelains were commissioned by Dutch traders for Holland and Europe, and they appear in many Dutch Golden Age paintings, such as Vermeer’s Young Woman Reading a Letter at an Open Window (1657). Vaudoyer’s likening of Vermeer’s painted surfaces to precious ceramic gestures toward the artist’s familiarity with the Chinese porcelain that first circulated in Holland in the seventeenth century: not low-fired pottery but that rare substance produced by an art that was, to Europeans of Vermeer’s time, ancient and secret as well as new. Its early name (Portuguese porcellana, Dutch
Fig. 3. Chicken Head Ewer with incised lotus-petal decoration. H. 38.7 cm. Chinese, Six Dynasties Period, 6th century. Seattle art Museum, Eugene Fuller Memorial Collection. Photo: Paul Macapia
▲
Fig. 4. Hexagonal tea caddies. German, Meissen factory. from left: Böttger stoneware, unglazed, c. 1710–15. H. 14 cm. Böttger stoneware with black glaze, unfired enamel, and gilding, c. 1710–15. H. 12.7 cm. Böttger porcelain, c. 1715–20. H. 12.1 cm. Seattle art Museum, Gift of Martha and Henry Isaacson. Photo: Susan Dirk Fig. 5. Dish, Jingdezhen Kraak hard paste porcelain with underglaze blue dragon decoration. Chinese, Ming dynasty (1368–1644),
c. 1610–1619. Diam. 51.5 cm. Seattle art Museum, bequest of Joan Louise applegate Dice. Photo: Paul Macapia
porselein, English porcelain) was augmented in English by another that identifies it with the faraway place of its fabrication.40 Two centuries later, Oscar Wilde could still find it “harder and harder every day to live up to my blue china,” nor perhaps is it easier these days, to judge by the prices Chinese porcelains have fetched in recent auctions.41
Proust wrote into Bergotte’s death scene not just Vaudoyer’s review but the “critic” (“a critic having written”), and it appears that Vaudoyer used “précieuse ... de la céramique” advisedly in associating Vermeer’s technical brilliance with “Chinese patience” and the supreme technê of Far Eastern art. Because Vaudoyer’s expertise and sensibility color this scene and its making, it is useful to recall that he came from a “dynasty” of eminent Parisian architects whose works, including prestigious state projects, extend over nearly a century.42 Jean-Louis declined this vocational patrimony, but “if he was a poet and a novelist,” writes Daphné Doublet, “he was, above all, an historian of art” who possessed “a perfect knowledge of aesthetic and technical problems; a knowledge almost inborn, ‘in his blood.’”43 Vaudoyer put his historical knowledge of aesthetics and technê to versatile use. Besides writing poetry, novels, art criticism, and the libretto for Diaghilev’s 1911 ballet Le spectre de la rose, he was associated with the Museum of the Decorative Arts in Paris, served as a curator for the Carnavalet Museum of the history of Paris, where the furnishings of Proust’s cork-lined room were later enshrined, and administered the Comédie Française during the German occupation.44
Vaudoyer’s extensive historical knowledge of art, materials and techniques, and aes
thetics would surely have extended to porcelain. In 1921, the Cernuschi Asian Art and
Guimet museums were in their third decade.45 In 1894 and 1911, Ernest Grandidier (1833–1912) donated to the Louvre his “magnificent collection” of six thousand Chinese 237 ceramics, “one of the most complete in Europe”; and in 1894, Grandidier published a monograph with sections on porcelain’s origins and history and on the materials and techniques of its fabrication.46 Grandidier’s early grasp of the importance of Chinese porcelains led the Guimet’s current porcelain curator, Jean-Paul Desroches, to describe him as an explorer and inventor as well as a connoisseur and collector.47 Grandidier recounts the transport of Chinese porcelains to the Arabian peninsula and Egypt from the ninth century on, Marco Polo’s reports of porcelain in 1295, the longstanding Levantine and Oriental trade of Venice, Florence, Barcelona and France, the porcelain gifts received by Charles VII of France and Lorenzo de’ Medici in the fifteenth century, the importation of Chinese porcelain by the Portuguese in the sixteenth century, and the seventeenth-century VOC trade that disseminated Chinese porcelains in European countries.48 Nor could a French expert in the decorative arts have been unaware of European rulers’ race to emulate porcelain, won in 1709 by Augustus the Strong, King of Poland and Elector of Saxony; the subsequent rise of a vigorous European porcelain industry; or the “chinamania” ignited by Louis XIV, “imitator of the kings of Asia,” who commissioned the Trianon de Porcelaine and filled Versailles with priceless porcelains, including fourteen hundred Kangxi pieces presented by Siamese ambassadors.49
Vaudoyer, in short, would have possessed at least a general awareness of the facts Timothy Brook marshals to detail the influence of the Dutch China trade on Vermeer’s paintings.50 The Dutch Golden Age was launched when the Dutch commandeered two Portuguese ships full of Chinese porcelains in 1602 and 1604, sold the cargo on the European market (whereas the Portuguese had traded porcelain mainly in the Far and Middle East), founded the VOC, and controlled the European China trade for the next century through its four Chambers—one, Brook observes, located in Delft, its long red warehouse roof visible on the left in the View of Delft (14–15). In seventeenth-century Europe, porcelain remained a miraculous substance with the prestige of gold and silver, a scarce luxury, a sign of wealth and status (though the Chinese reserved their finest wares and considered their export porcelain second-rate). As Emerson notes, the Chinese blue-and-white porcelains depicted in many Dutch Golden Age paintings evolved through the early Ming dynasty’s Persia trade, as China’s porcelain technology converged with Persian-mined cobalt ore and Persia’s soft-paste ceramic traditions to produce Chinese-fabricated porcelain vessels, larger than those customary in China to accommodate Persian communal dining customs, and featuring Persian-influenced designs (fig. 6).51
The VOC imported millions of Chinese blue-and-white pieces over the next decades, bringing vast wealth and luxury goods (such as the oriental carpet, pearls, and gold of Vermeer’s paintings) to Holland and Europe52; these porcelains inspired the low-fired tin-glazed Delft Blue ware that local potters began making after the emperor Wan Li’s death in 1619 disrupted the China trade (fig. 7).53 If, as seems likely, Vaudoyer was aware that the Chinese porcelains of Vermeer’s time were precious and inimitable—the art of fabricating them being then mysterious and secret—his “precious ceramic” evokes a historical world in which a profound, technically advanced aesthetic tradition entered
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Fig. 6. Dish, Jingdezhen porcelain with underglaze cobalt blue decoration. Chinese,Yuan dynasty, 14th century. Diam. 47.6 cm. Seattle art Museum. Purchased in memory of Elizabeth M. Fuller with funds from the Elizabeth M. Fuller Memorial Fund and the Edwin W. and Catherine M. Davis Foundation, St. Paul, Minnesota. Photo: Paul Macapia
▲
Fig. 7. Delft Blue Ware. 18th century. Compagnie des Indes. Ernest Cognacq Museum, Saint Martin de Ré, Ile de Ré, France. Photo:Wikimedia Commons
Delft through the China trade and inspired its potters and painters in both high craft 239 and iconographic detail.54 Among these was Vermeer, who with other artists and artisans, including house painters, decorators, glass engravers, stained-glass workers, glaziers, potters, embroiderers, carpet weavers, sculptors, engravers, booksellers, printers, art dealers, belonged to Delft’s Guild of St. Luke.55
Proust already knew something about Chinese art when Vaudoyer’s esteem for Far Eastern technê in the context of Vermeer sparked his imagination. In Within a Budding Grove, Marcel sells a fine Chinese porcelain vase with the intent to lavish flowers on Gilberte, receiving from a dealer not the thousand francs he expects but ten thousand. Later, he sees in memory his great-aunt Léonie’s collection of old porcelain, to which this vase once belonged, shining like “a multi-colored inset” in grey, rustic Combray, as Indian buttercups and Persian lilacs glow before its train station, stained glass windows in somber St. Hilaire, and magic lantern images in his darkened room in aunt Léonie’s house.56
Vaudoyer may have furthered the evolution of Marcel’s superficial and indirect aesthetic appreciation, mediated by desire, money, and memory, into the historically grounded references of the later books. Indeed, Vaudoyer’s own Orient had evolved from one of sensual fantasy to one historically superior in aesthetic tradition and technique. In 1911, Hertel notes, Vaudoyer characterized Fragonard’s orientalism as “the enjoyment of sensuality and freedom”; in 1921, his focus is craft: “The notion that whatever smallest detail one singles out in a Vermeer painting, one might ‘imagine oneself before a glass case enclosing the most precious and most singular knick-knack [bibelot].’ The theme of the precious, glazed and polished Far Eastern art object functions here as the real analogue of Vermeer’s techniques and colors” (105–6). Situating Vaudoyer’s orientalist rhetoric among various European orientalisms that played a part in Vermeer’s painting and reception, Hertel finds an early moment in this historicist turn in a 1913 monograph by the American luminist painter Philip Hale, who sees past Thoré’s iconography (“‘a Turkish rug . . . a Japanese blue bowl . . . hair in Chinese style’”) to Vermeer’s cosmopolitan clientele, who “had adventured in the India trade,” “tasted every form of aesthetic enjoyment,” “could go to war over a few precious tulips,” and were “great collectors of rich wares from China and from Japan.”57
Not unlike Vaudoyer’s Orient, Proust’s China evolves from Odette’s sensualist décor in the house where Swann talks of his study of Vermeer and from Marcel’s painterly memories of glowing porcelains in dim Combray to the historical allusions of Bergotte’s death scene and later moments in The Captive and Time Regained—for example, the Baron de Charlus’s wartime anecdote about Augustus II, “the Porcelain King,” the great collector of Far Eastern porcelain under whose mandate the first European porcelain was made and the Meissen factory established at Dresden (ISLT, 6:151).58 Soon after Bergotte’s death scene, the Baron asks Marcel whether he is working as they enter the Verdurins’ hall one evening. No, he replies, but at the moment he is very interested in “old dinner services of silver and porcelain” (ISLT, 5:299, ARTP, 3:731). The Baron— who shares a connoisseur’s and collector’s interest in Far Eastern porcelain with his historical model the illustrious Comte Robert de Montesquiou-Ferenzac—assures
240 him that none more beautiful than the Verdurins’ exist and offers to have them show him their treasures, inconvenient though that might be on the evening of their party.59 Marcel declines—“I begged him to do nothing of the sort”—and a deleted passage just here shows his newly acquired discrimination diverging from the Baron’s:
I dared not tell him that what could interest me was not mediocre services of the richest bourgeois silver but at the least that of Mme du Barry. I was much too preoccupied—and had I not been, when I was in society I was much too distracted and agitated to fix my attention on more or less pretty objects. This could be captured only by the call of some reality addressing itself to my imagination, for example, some beautiful view of this Venice, of which I had thought so much.60
Time Regained displays the fruits of what it proves to have been Proust’s as well as Marcel’s researches into old porcelain and silver à la Dubarry in the pastiche of the Goncourt journals, which Marcel reads while visiting Gilberte at Tansonville. Together with Marcel’s musings on it, the pastiche elaborates the cancelled passage as, in a description of the same dinner party, those “more or less pretty objects” call the enraptured diarist’s attention to a reality unheeded by Marcel:61
An extraordinary cavalcade of plates which are nothing less than masterpieces of the porcelainist’s art, whose artistic chatter, during an exquisite meal, the amateur’s titillated attention hears most contentedly—Yung-Tsching plates with nasturtium-coloured borders and purple-blue irises, leafless and tumid, and those supremely decorative flights of kingfishers and cranes trailing across a dawn sky . . . Saxe [i.e., Meissen] plates, daintier and of more graceful workmanship, with drowsy, bloodless roses fading into violet, with ragged-edged tulips the color of wine-lees, with the rococo elegance of a pink or a forget-me-not—Sèvres plates meshed with the close guilloche of their white fluting, whorled in gold, or knotted with a golden ribbon that stands in gallant relief upon the creamy smoothness of the paste—finally a whole service of silver plate arabesqued with those myrtles of Luciennes that were not unknown to the du Barry . . . [and] a marvelous Tching-Hon platter streaked with the purple rays of a sun setting on a sea whereon sails a droll flotilla of crayfish, their spiky stippling rendered with such extraordinary skill that they seem to have been moulded from living shells, with a border made of a little Chinese boy who plays on his rod and line a fish whose silver and azure belly makes it a wonder of iridescent colour.62
Treating a Verdurin party like those the narrator has described, the “Goncourt” diarist may seem to join his hosts and their company as unwitting guests of Proustian satire.63 No doubt Proust is having fun, yet matters are not so simple. As that gifted mimic explained, he sought by “voluntary pastiche” to purge himself of “involuntary pastiche”; to sign the Goncourt name to the signature Goncourt prose exuded by his inner Goncourt, the better to write as “Proust”—or the distinctive “je” of the writer/ narrator—outside quotation marks.64 As the ghostwritten “Goncourt” diarist appreciates, the Verdurins’ porcelains are technically dazzling, precious, and rare,65 while the silver adorned with Luciennes myrtles might have given Madam du Barry a madeleinelike blast from the past.66 Like the Sansovino well-head that now receives the guests’ cigar ashes, these enduring treasures, mute yet eloquent, highlight the shifting conditions 241 and values of their original and new surroundings, as when the diarist remarks to his host what an exquisite pleasure it must be for him to consume a choice repast from “a collection such as no prince today possesses in his show cases” and records Mme Verdurin’s melancholy interjection that her eccentric spouse would be happier drinking cider on a Normandy farm (ISLT, 6:31–2).
Though Marcel does not count his interest in old porcelain as “work” (ISLT, 5:299), Proust seems to have done some swotting up of Chinese porcelain and the DutchFrench-China trade, possibly after his 1921 exchange with Vaudoyer. Tadié dates the Goncourt pastiche from 1917–8 (665); but, as neither of two extant sketches of the pastiche in the Pléiade edition fully describes the Verdurins’ porcelains, a later date may be possible for these passages.67 The first sketch dwells on the now fire-blackened pearls purchased from Mme de La Fayette’s descendant and refers to Sèvres figurines. The second sketch breaks off and resumes as the diarist spies the sign of the “Little Dunkirk” shop, a Parisian relic of seventeenth and eighteenth century Dunkirk, where Far Eastern treasures raided from Dutch ships were “cheapened” and sold, as attested by rare old engraved invoices of Louis XV “with a headpiece representing a billowy sea laden with vessels” (ISLT, 6:28–9). It then introduces the “porcelain masterpieces” passage, where the Yung-Tsching plates first appear (resembling an export famille rose plate that Proust might have seen in the Grandidier collection then in the Louvre, its nasturtium-colored border encircling a blue iris if not yet “leafless” at least bearing a caterpillar), followed by the Meissen and Sèvres.68 The second sketch then breaks again (just before the butter in the sauce for the brill), leaving a lacuna eventually filled by the “especially esoteric” “Tching-Hon” (tchi-hong, chi-hung, jihong) platter, its glaze recherché enough to emulate the Goncourts’ terms of art and indeed to have gone missing in two English translations.69 As for those spiny, stippled crayfish encircled by a little boy fishing, they may derive from descriptions of the exceedingly rare Xuande chi-hung wares in the Tao Shuo: “white porcelain decorated with red fishes,” examples of which are said to be “few and far between” inside China and hardly known in the west.70 Notwithstanding Proust’s passion for precise detail and access to eminent collector-friends, it seems doubtful, given the extreme rarity of authentic Tching-Hon porcelains, that this platter with its exuberant iconography corresponds to an actual object. Perhaps, laying color upon color like Bergotte’s Vermeer, the Proust in the diarist’s inkpot is an improvisational porcelain painter as well as a voluntary pasticheur, projecting from his research these trompe l’oeil crayfish in this most exotic and mysterious of glazes.
As Jean Milly points out, the Recherche, almost fully achieved by this point, opposes its vast mass to the diarist’s arty antiquarianism, though Marcel has yet to write the book that contains him; and both the pastiche and his reflections on reading it advance him toward its conception. In their note on the text of Le Temps Retrouvé, Pierre-Louis Rey and Brian Rogers suggest that the pastiche (which some find more Goncourtlike than the Goncourts, as if it were the original and their work the parody) evokes a novel different from the one we are reading, one that Proust “perhaps dreamt of writing,” of which this fragment presents itself to his hero (ARTP, 4:1174)—one enough like his
242 own to require this casting off. The ghostwriting Proust is obviously the source of the diarist’s historical minutiae, a fact that the genre of the pastiche avows before it disavows. Is it a case of “dual personality” (ISLT, 6:36f), as we are led to suspect when, tongue in cheek, the text mirrors the redoubled and thrown authorial voice that constitutes the diary parody in Dr. Cottard’s patient, who, “while he behaves most respectably in the first life, has more than once been arrested for thefts committed in the second, in which he is . . . an abominable scoundrel” (ISLT, 6:37)?71 It is not simply that the diarist is a material boy and “Proust” is not. Who, after all, dreams up these porcelains whose chatter pleases the connoisseur’s ear better than the guests’, this Tching-Hon platter no prince can boast? It is more a matter of what is to be gained by “hiding the minutiae and work processes,” the quality Vaudoyer admires in Far Eastern art and Vermeer. Though the diarist, faithful to “the exterior,” captures in unfiltered detail the company’s Venice-in-Paris setting, exquisite repast on precious plates, and conversation, much of what he brings home from the party—Madam Verdurin as the unacknowledged genius behind Elstir/Whistler’s still lifes and portraits, whether Napoleon’s books now in the Duc de Guermantes’s library are tobacco- or liquorice-stained—amounts to trivial pursuits (ARTP, 4:750). While this “manifest naïvety” rouses Marcel’s anti-Sainte-Beuve “objections to literature,” it also makes him feel, first, that he cannot see; then, that he can in his way, as singular as the Goncourts’ way. The diarist’s account makes Marcel long to see again everything he records, everything he might have seen himself had he not been so “blind” as to find the guests “commonplace,” “insipid,” full of “vulgarities”: “Goncourt knew how to listen, just as he knew how to see; I did not” (ISLT, 6:38–9, 43). On the other hand, it’s not that he sees nothing: though “the apparent, copiable charm of things and people escaped me . . . I was like a surgeon . . . If I went to a dinner-party I did not see the guests: when I thought I was looking at them, I was X-raying them,” seeking like a “geometer” the “essences” situated “behind actual appearances.”72 In mid-June 1922 Proust wrote Vaudoyer that he was studying the black-andwhite reproductions in Gustave Vanzype’s Jan Vermeer de Delft, which Vaudoyer also cites, interposing it between the painting and his readers in an oddly Proustian way.73 Vaudoyer, we remember, describes not the View of Delft then hanging in Paris for his readers to behold but the way “one’s memory” (souvenir) of it, once one has seen the original, “transfigures any reproduction” by “a feast of colors, light, and space that sweeps through your memory” (mémoire), making you “see again” (revoyer) the rose-gold sand, blue apron, dark barges, and brick houses that look like (absent) precious ceramic. Not the painting but a photograph; not a photograph but a memory; not an object but a substance; not that substance but a simile; not your actual eyes but your mind’s eye: the painting is, and is like, a material object, a made thing, a “world” that both exists and persists in immaterial memory in the absence of the object. The bedridden artist (Proust, Bergotte) exerts himself to see it “again” because his memory fails to perform the chromo-photographic feat Vaudoyer describes: he goes to the exhibition so that he can “see it again” in memory as vividly as Vaudoyer says “you” do—as if what he is after is not the painting as object but an impression or memory he can really “see” only in the absence of the thing that inspired it.
In perusing Vanzype’s reproductions, Proust was tracking “identical incidental details 243 in different paintings”74 to develop Bergotte’s death scene. Late in The Captive Marcel describes “the Vermeers” to Albertine (who earlier supposes them to be living people) as “fragments of an identical world . . . it’s always . . . the same table, the same carpet, the same woman, the same novel and unique beauty, an enigma . . . if one doesn’t try to relate it all through subject matter but to isolate that distinctive impression produced by the colour” (ISLT, 5:508). For Marcel, these identical details betoken the “world” that the artist illuminates beyond the frame, whether of one painting or all: both that singular way of seeing and that historical, quasi-documentary world in which the identical table in this and that painting once corresponded to a material object. In this light, the exquisitely painted yellow wall comes into focus not as the fetish it can easily seem but as exemplary of the luminous details of a never completed whole—never completed not only because the artist’s death (Vermeer’s, Bergotte’s, Proust’s) interrupts it but because those “fragments of an identical world,” that “distinctive impression produced by the colour,” can only ever suggest it.75 Technê, the craft (“style for the writer . . . colour for the painter” [ISLT, 6:299]) that imbues a detail with “a beauty sufficient in itself,” overrides formal completeness and perfection.76 In light of this sufficiency of the well-crafted detail or fragment, the Recherche seems no more “the meaningful whole which is the work” than “that hole-filled meaning which is the text”: an enigmatic whole, a hologram constellated in and as an absence, like those that set off Vermeer’s signature yellow, a Chinese artwork, a figurative yellow butterfly.77
The counterpoetics articulated through Marcel’s reading of the “diary” extends from the genetic origins of the Recherche in Contre Sainte-Beuve (1908–1909) to the very late scene of Bergotte’s death (inserted in The Captive’s third typescript), which conjures a deep but finite history of artists who labor in obscurity, with “Chinese patience,” to net the yellow butterfly in clay, fire, paint, ink, words. As we noted, after Proust reads Vaudoyer on The Art of Painting, Swann’s study of Vermeer becomes retroactively a biography—or more properly an anti-biography, a practical corollary of his anti-Sainte-Beuve poetics.78 Bergotte’s death in a museum, where works of art cross from private commission, creation, and enjoyment into public space and history, signals the precarious fate of a work of art once it leaves—or survives—its maker. (The View of Delft was the first Vermeer to enter a public collection, in 1822, leading to the painter’s world fame.79) In contemplating not a reproduction in a private space but the actual, unique painting at an actual public exhibition, Bergotte not only enters the painting’s reception almost as if he were not a fiction but highlights the different modes of “presence” of Proust, the fictional Bergotte, the “critic,” “Vermeer,” and the absent Chinese artwork at the exhibition and in its historical record and cultural memory. In the museum where the literary lion Bergotte ponders the momentous question of an artist’s life after death, the “mysterious” Vermeer remains almost as obscure as the unknown Chinese artisan to whose precious, lasting handiwork a critic compares his yellow wall.80
Bergotte’s death scene stages from various angles the artist’s imponderable translation of organic life into art, which captures its maker’s flowing life in material form and carries it on in time. Like the reluctantly dying Bergotte, the narrator meditates on the
244 arduous submission to craft by which the artisan, epitomized by Vermeer, transforms the materials of a given métier into a made thing whose fineness, strength and beauty endow its power to endure, whether for days and years or for decades, centuries, even millennia. As the View of Delft confronts Bergotte with the demands craft makes on a brief human life, he voices resistance to life’s finitude, its shocking vulnerability to time and death: “‘I shouldn’t like to be the headline news of this exhibition for the evening papers,’” he thinks just before pitching off the settee (ISLT, 5:245). In his dying apprehension of his own work’s mediocrity beside the eternal freshness of Vermeer’s, Bergotte glimpses another temporality, that of a made thing that may survive its maker as Vermeer’s paintings and Chinese porcelains, lacquers, carved stones so spectacularly outlast theirs.81 If Bergotte is not “Dead for ever,” the narrator remarks, that is not because the “soul” survives death but because the artist, unaccountably obeying “unknown laws,” succeeds in transmuting organic life into enduring art:82
All that we can say is that everything is arranged in this life as though we entered it carrying a burden of obligations contracted in a former life; there is no reason inherent in the conditions of life on this earth that can make . . . an atheist artist consider himself obliged to begin over again a score of times a piece of work the admiration aroused by which will matter little to his worm-eaten body, like the section of yellow wall painted with so much skill and refinement by an artist destined to be for ever unknown and barely identified under the name Vermeer. (ISLT, 5:245–6)
The yellow wall that catches the light centuries after the hand that made it has been eaten by worms is not just a material thing but a precious substance, like earth fired into porcelain. It is “Vermeer”’s name and immortality, this trace of the painter’s actual life, of his labor in time and the event of its making: painting as participle.83 Proust, facing death with his masterwork unfinished, composes a triangulated mirror scene: an artist who, though personally obscure and ostensibly “dead,” remains as alive as the unknown Chinese artisan, more alive than the dying writer gazing at a still-living painting; an invisible third, Proust likewise pours his living, writing, and dying into a work of life-become-art, laying color on color in a race with mortal time while defending his precise detail to a reviewer who preferred Saint-Simon’s “more ‘summary’” method (fig. 8).84
Proust’s invocation of an absent, precious Chinese artwork is more precise than it may at first appear, for its historical character resonates in the rich material surround of Vermeer’s paintings and as an emanation of China’s long history of supreme technê. Bergotte’s anxious glimpse of the enduring life of Vermeer’s art occasions a longer view in a final invocation of the painter, added in the margin of the manuscript of Time Regained: “Thanks to art, instead of seeing one world . . . we have . . . as many worlds as there are original artists, worlds which, centuries after the extinction of the fire from which their light first emanated, whether it is called Rembrandt or Vermeer, send us still each one its special radiance.”85 Like the Chinese porcelains in dim Combray, these luminous worlds radiate in cosmic time, even conceivably outlasting the human species on which their legibility depends.86 In another very late addition in this book’s fifteen
▲
Fig. 8. Paperoles from the workshop of Marcel Proust. Bibliothèque nationale de France, Paris
year compositional history, Proust extends the Chinese and Vermeerean temporalities of Bergotte’s death scene into still vaster cosmic time, figuring the aging Bergotte as growing steadily colder, a tiny planet offering a prophetic image of the greater, when gradually heat, then life itself, will withdraw from the earth:
Then his resurrection will have come to an end, for, however far forward into future generations the works of men may shine, there must none the less be men . . . if we suppose Bergotte’s fame to have lasted until then, suddenly it will be extinguished for all time.87
246 This posthuman time contains, like Chinese boxes, the scene’s scaled temporalities: China’s deep artisanal time; Vermeer’s early modern time; Bergotte’s hoped-for lifein-art, signalled by his books open like the wings of angels keeping vigil in lighted shopwindows; the many temporalities of the Recherche, from its maker’s lived and remembered life transmuted into a book and held in the dimensionless spacetime of the mind’s eye to narrative, historicist, and physical or natural time. Framing Bergotte’s doubtful reckoning of his life’s work and its possible future within a cosmic time that precedes human origins and supersedes the human future in the apocalypse rendered imaginable by scientific modernity, the scene’s play of epochs and temporalities participates in the early twentieth century’s “new” historic sense and the turbulent history of global modernities that challenges, eludes, complicates, and confounds heuristic period boundaries, as it animates the making, the it, the new, and the day in a Chinese emperor’s (r. 1675–1646 BCE) modernist motto: “MAKE IT NEW . . . Day by day make it new.”88
10:321 & n12, my translation (hereafter cited in text as Corr.); Fraisse 13–4. Fraisse notes that the first two typescripts specify a Korean porcelain bowl (25n31). See Marcel Proust, Á la recherche du temps perdu, ed. Jean-Yves Tadié et al., 4 vols. (Paris: Gallimard/ Bibliothèque de la Pléiade, 1988), 1:1124 (hereafter cited in text as ARTP). Cf. Jan Hokenson, “Proust’s japonisme: Contrastive Aesthetics,” Modern Language Studies 29:1 (Spring 1999), on Proust’s “japoniste cup of tea” (33). Virginia Woolf mentions “merchants having dealings with the East” who “put on the market little paper flowers which opened on touching water” in Jacob’s Room (New York: Harcourt Brace, 1922), 83. The antiquarian Swann would have known that tea, like coffee and chocolate, was introduced as a rare, mysterious brew to Europe’s elites in the seventeenth century, as the harbor scenes painted on many porcelain services recall. Odette emulates French aristocrats’ emulation of Far Eastern luxury.
7. Ezra Pound, Guide to Kulchur (1938; New York: New Directions, 1970), 30.
248 “canal lock gates, cast iron, deep drilling, efficient animal harnesses, gunpowder, kites, magnetic compasses, movable type, paper, porcelain, printing . . . sternpost rudders, and wheelbarrows.” Guns, Germs, and Steel: The Fates of Human Societies (New York: W. W. Norton, 2005), 253, cf. 409f.
25. Corr. 20:166, letter 81 (April 8, 1921); see Tadié, 762–5. Cf. notes 14, 67.
32. Corr. 21:292, letter 209, shortly after June 17, 1922, my translation.
250 wholly dependent on more than two millenia of Chinese craft expertise and technology.” The Pilgrim Art, 9.
43. Préface, in Bergdoll, Les Vaudoyer, 6.
54. E.g., the Chinese export blue-and-white dish or klapmutz in Vermeer’s Young Woman Reading a Letter (Brook, Vermeer’s Hat, 77). As for precious ceramic “substance,” Richard L. Smith, notes the special archaeological and historical value of ceramics, since pottery is easily broken, and potshards are not usually transported far from the site of their destruction, nor can they be melted down and recast: “The material itself was virtually indestructible and could not be reused. Different places made pottery in their own ways, and styles and decorative fashions changed over time. Also, various types of clay contained elements from different places, all of which give archaeologists a good idea of when and where a piece originated.” Premodern Trade in World History (New York: Routledge, 2009), 8. Ongoing excavations of Song kiln sites in China “confirm that many similar wares originated from widely distributed kilns and that many large kiln complexes produced more than one type of ware.” Deft Hands Discerning Eyes: Chinese and Korean Ceramics from the Harry B. and Bessie K. Braude Memorial Collection (Chicago: Art Institute of Chicago, 2008), 1.
S. A, 1996), 2 vols. Montesquiou’s papers show “Chinese objects . . . represented by Tang and Yuan enameled ceramics, large round porcelain vases, cloisonnés, enameled Ming porcelains, Kangxi familles verte and rose vases, and seventeenth-century porcelains” (1:131 citing Bibliothêque nationale MS Nafr. 15289). Schwartz notes, “As one might expect of a friend of Montesquiou, Proust’s books often give evidence of a real interest in Far Eastern things” (106 & n1).
60. ARTP, 3:1747, my translation; Fraisse also notes this deleted passage.
252 61. On the Goncourts’ “artistic conception of reality,” see Jean Milly, Les Pastiches de Proust (Paris: Armand Colin, 1970), 26, 43–45.
Ceramic Technology (London: Percival David Foundation of Chinese Art, 1996), notes that the “cop-253 per red glaze is still something of a mystery” and “extremely difficult to control” (22).
80. Sainte-Beuve is one suspect who escapes notice in Jean-Michel Rabaté’s entertaining address to the question “Who Killed Bergotte? The Patch and the Corpse,” Given: 1º Art 2º Crime: Modernity, Murder and Mass Culture (Brighton: Sussex Academic Press, 2007), chap. 5. Aesthetic suicide is another.
254 81. Bergotte’s model Anatole France won the Nobel Prize for Literature in 1921 and would survive Proust by almost two years; that summer, Paris bookshops displayed Le Côté de Guermantes and Sodome et Gomorrhe and Proust weathered their mixed reception by reviewers and friends.
82. See ISLT, 4:244–46; on its self-reflexivity see ARTP, 1:cv–cvi “Introduction générale.”
87. ISLT, 5:240, ARTP, 3:689, 1738–9. See Winton, note 14 above; and Tadié, 770–777 passim.
88. “Tching prayed on the mountain and / wrote MAKE IT NEW / on his bath tub / Day by day make it new.” Ezra Pound, “Canto 53,” The Cantos of Ezra Pound (New York: New Directions, 1970), 265.


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Washington asked Tokyo to pay five times as much per year for U.S. forces based in Japan
The United States asked Japan earlier this year to pay significantly more — about five times as much per year — to support U.S. forces stationed on the soil of its major Asian ally, government sources said Saturday.
The request was delivered by John Bolton, then national security adviser to U.S. President Donald Trump, when he visited Japan in July for talks with top officials, including Taro Kono, who was foreign minister at the time, and then-Defense Minister Takeshi Iwaya, the Japanese sources said, adding that Tokyo rejected the request.
In Japan’s fiscal 2019 draft budget, about ¥197.4 billion ($1.8 billion) has been earmarked to host U.S. forces, while Trump has criticized obligations under the decades-old security treaty between the two countries as being one-sided and unfair.
Bolton told the Japanese officials that the United States wanted to discuss frankly with Japan about the future of the cost-sharing, and that it would also ask South Korea, another key U.S. ally in Asia, for a fivefold increase in payments, the sources said.
The officials told Bolton the fivefold increase was “unrealistic,” arguing Japan has already been shouldering the highest share of stationing costs among U.S. allies, one of the sources said.
According to a U.S. Defense Department report in 2004, Japan’s share of the overall expenses for U.S. forces in the country stood at 74.5 percent in 2002, compared with South Korea’s 40 percent and Germany’s 32.6 percent.
Since then, the United States has not revealed changes in the ratio.
A Defense Ministry source said, “(The request) must be part of a ‘deal’ President Trump likes to make. I think he wanted to see Japan’s reaction.”
The Japan-U.S. agreement on cost-sharing over the five-year period through fiscal 2020 will expire at the end of March 2021, and new negotiations on Tokyo’s so-called host-nation support are expected to be in full swing possibly next spring.
Under the bilateral security treaty, about 50,000 U.S. troops are stationed in Japan, providing the major U.S. forward logistics base in the Asia-Pacific region. Okinawa Prefecture hosts the bulk of the U.S. military facilities in Japan.
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Notebooks
Story: ||kabbo's maternal grandmother, who was a !gixa
||kabbo's maternal grandmother, who was a !gixa
Title
||kabbo's maternal grandmother, who was a !gixa
Collection
Summary
A short note about ||kabbo's maternal grandmother, who was a !gixa (or sorceress).
Comments
1) This story is found in Book II-37
Contributors
Date
October 1873
Categories
History (personal), Healing and ailing
Keywords
||kabbo (his personal history) , ||kabbo (his maternal grandmother was a !gixa: a sorceress or healer) , sorceress (healer) , sorceress (or wise woman) , sorceress (!gixa) , sorceress (|xam names for) , sorceress (heals or doctors) , sorceress (and springbok) , sorceress (||kabbo's grandmother was one) , springbok (and sorcerers) , springbok (spells for) , springbok (and ||kabbo's maternal grandmother who was a !gixa) , healing (and ||kabbo's grandmother) , healing (by a !gixa) , personal history (||kabbo's maternal grandmother was a !gixa) , name (used by the |xam for a sorcerer or healer is !gixa) , healer (||kabbo's grandmother was a !gixa) , spells (for springbok) , spells (and ||kabbo's maternal grandmother who was a !gixa)
Story Pages
3337v


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