Closer to home, Maiko John corrected my Japanese in a Coralville coffee shop, and Kawakami Kiyomi helped me discuss topics ranging from tango to slang in George’s Buffet, which is a bar, not a buffet (English is baffling). Nakajima Miharu took me to rare book stores in the Jinbōchō area of Tokyo, and helped me track down Japanese editions of Wuthering Heights. Throughout most of the period during which I was working on this book, I was talking by means of Skype with Japanese conversation partners I met through The Mixxer web site: Serita Nahoko, Ono Kōji, Yoshida Isao, Tōne Emiko, and Hino Akira. During my Fulbright year in Japan, I benefited from the instruction and camaraderie provided by the Kodaira International Friendship Association, where my teacher Ike Asako cultivated her students’ conversational skills, and where my Chinese and Brazilian classmates shared tips on how to make gyoza and where to purchase the best kanji pen. Muramatsu Chie, Takayama Hiromi, Nishi Yumiko, Naka Tomomi, Mizuno Kuriko, along with the rest of my Japanese instructors at the University of Iowa, supported my efforts in the classroom, as did my classmates in first-through fourth-year Japanese. The line of Japanese scholars, artists, friends, colleagues, and strangers who contributed to this project, both directly and indirectly, extends from Iowa City to Tokyo. I am indebted to the Fulbright Scholar Program and the John Simon Guggenheim Memorial Foundation, whose combined support had a transformative effect on my research and teaching.
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Acknowledgments This book was begun during the year I spent as a Fulbright Lecturer in Japan, and it advanced toward completion during my tenure as a Guggenheim Fellow. The research for, and writing of, this book was carried out over eight years and four trips to Japan, and at varying stages of Japanese language acquisition. I have sought to apply these rules consistently throughout the book, but I apologize in advance for any unintended lapses from this practice, and for other language-related errors. Macrons are used throughout to indicate long vowel sounds (for example, ō) in Japanese, but they are omitted in the case of common place- names (such as Tokyo). Donald Keene) Author’s Note Japanese names are written in the order of surname followed by given name, except in those instances when the person being referenced lives and works in a Western country and uses the Western name order. Best of all is to dispense with such desires from the start. If there is something you would like to know, study it if you like, but once you have learned the general principles and your curiosity is assuaged, you should stop. At that age there is no prospect that you may acquire it by hard work. . . . Elizabeth Hardwick, Sleepless Nights Someone remarked that you should give up any art of which you have not become a master by the age of fifty. Americans who are Germans, Germans who are Frenchmen, like Heine perhaps. Many are flung down carelessly at birth and they experience the diminishment and sometimes the pleasant truculence of their random misplacement. Also it is not true that all are linked naturally to their regions. For my Japanese teachers and conversation partners It is not true that it doesn’t matter where you live, that you are in Hartford or Dallas merely yourself. Courtesy of Iwashita Hiromi, © Iwashita Hiromi. paper) ISBN: 978-0-472-12335-3 (e-book) Frontispiece: Emily Brontë on the Shinkansen platform. Library of Congress Cataloging-in-Publication data has been applied for. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2020 2019 2018 2017 4 3 2 1 A CIP catalog record for this book is available from the British Library.
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On the Bul l et T r a i n w i t h E m i ly Bront ë Wuthering Heights in Japan Judith Pascoe Uni ve rsi t y of Michigan Press Ann Arbor Copyright © 2017 by Judith Pascoe All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S.