https://foundsf.org/index.php?title=Chinatown%27s_19th_Century_Tourist_Terrain&feed=atom&action=historyChinatown's 19th Century Tourist Terrain - Revision history2024-03-29T06:54:48ZRevision history for this page on the wikiMediaWiki 1.39.1https://foundsf.org/index.php?title=Chinatown%27s_19th_Century_Tourist_Terrain&diff=30566&oldid=prevCcarlsson at 22:49, 27 May 20202020-05-27T22:49:34Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>On May 18, 1886, a teenage girl identified only as E.G.H. arrived in San Francisco, one of many destinations on her trip through the West-perhaps with a Raymond Excursion Party—that had begun in Boston and included stops in Chicago, Kansas City, Santa Fe, Albuquerque, Los Angeles, Yosemite, and Mariposa. That day, from her "wonderful" accommodations at the city's luxurious Palace Hotel, she wrote to her "dear" Jay: "I am looking forward to my visit to Chinatown, where we are hoping to go in a day or two." Over the course of the next two weeks, E.G.H. made at least three trips into Chinatown, telling one recipient of her letters that she had "given as much time as possible to Chinatown" and was "fairly infatuated with the place."(l)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>On May 18, 1886, a teenage girl identified only as E.G.H. arrived in San Francisco, one of many destinations on her trip through the West-perhaps with a Raymond Excursion Party—that had begun in Boston and included stops in Chicago, Kansas City, Santa Fe, Albuquerque, Los Angeles, Yosemite, and Mariposa. That day, from her "wonderful" accommodations at the city's luxurious Palace Hotel, she wrote to her "dear" Jay: "I am looking forward to my visit to Chinatown, where we are hoping to go in a day or two." Over the course of the next two weeks, E.G.H. made at least three trips into Chinatown, telling one recipient of her letters that she had "given as much time as possible to Chinatown" and was "fairly infatuated with the place."(l)</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Police guides, moreover, were known for deploying quite brutal, invasive, and generally disrespectful tactics that included kicking doors open, forcing their way into private living quarters, waking people from sleep, and shining bright lights into people's faces. Whether these encounters were staged or not, they made violence an expected part of the tourist experience in Chinatown. Local photographers capitalized on these expectations and sold souvenir photographs that claimed to "show the Chinaman taken by surprise, as the flash light illuminates his den." Photographer Henry R. Knapp packaged his series of such images in a three-inch square booklet, which made them easily portable and well suited for carrying in one's pocket or purse. The scenes he captured and captioned included the expected "Opium Den" and "Filling Opium Pipe," but the inclusion of "Old Blind Chinese Woman, Aged 77" and "Trimming His Corns" disclosed tourists' appetite for being let into private moments, not just vicious ones.(18)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Police guides, moreover, were known for deploying quite brutal, invasive, and generally disrespectful tactics that included kicking doors open, forcing their way into private living quarters, waking people from sleep, and shining bright lights into people's faces. Whether these encounters were staged or not, they made violence an expected part of the tourist experience in Chinatown. Local photographers capitalized on these expectations and sold souvenir photographs that claimed to "show the Chinaman taken by surprise, as the flash light illuminates his den." Photographer Henry R. Knapp packaged his series of such images in a three-inch square booklet, which made them easily portable and well suited for carrying in one's pocket or purse. The scenes he captured and captioned included the expected "Opium Den" and "Filling Opium Pipe," but the inclusion of "Old Blind Chinese Woman, Aged 77" and "Trimming His Corns" disclosed tourists' appetite for being let into private moments, not just vicious ones.(18)</div></td></tr>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>'''These images were packaged with others in a three-inch-square book let designed to be easily portable, well suited for carrying in a pocket or purse. While "Opium Den" (top left) and <del style="font-weight: bold; text-decoration: none;">''</del>Filling Opium Pipe" (top right) presented expected tropes of the tourist terrain, "Old Blind Woman" (bottom left) and "Trimming His Corns" (bottom right) revealed the desire of tourists to view—and the power of the photographer to capture—ostensibly private, domestic scenes as well as vicious ones.'''</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''These images were packaged with others in a three-inch-square book let designed to be easily portable, well suited for carrying in a pocket or purse. While "Opium Den" (top left) and <ins style="font-weight: bold; text-decoration: none;">"</ins>Filling Opium Pipe" (top right) presented expected tropes of the tourist terrain, "Old Blind Woman" (bottom left) and "Trimming His Corns" (bottom right) revealed the desire of tourists to view—and the power of the photographer to capture—ostensibly private, domestic scenes as well as vicious ones.'''</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''Photos: Henry R. Knapp, 1889. Huntington Library''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''Photos: Henry R. Knapp, 1889. Huntington Library''</div></td></tr>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Old-blind-woman-3.gif|<del style="font-weight: bold; text-decoration: none;">290px</del>|left]] [[Image:Trimming-corns-4.gif|<del style="font-weight: bold; text-decoration: none;">290px</del>|right]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Old-blind-woman-3.gif|<ins style="font-weight: bold; text-decoration: none;">300px</ins>|left]] [[Image:Trimming-corns-4.gif|<ins style="font-weight: bold; text-decoration: none;">300px</ins>|right]]</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Long-time San Franciscan Charles Warren Stoddard told a story of how when his "‘special,' by the authority vested in him" demanded admittance to a particular closed door, "a group of coolies" who lived in the vicinity and had followed the tourists tried to divert his attention by assuring him that the place was vacant. The officer refused to leave, decided to employ force to open the door, and when he did, succeeded in revealing four sleeping men, "packed" into what Stoddard described as an "air-tight compartment" and "insensible" to the "hearty greeting" the tourists offered. W H. Gleadell related invading the living quarters of an impoverished Chinese couple—upon his police guide's instruction—in order to be able to take in such a scene firsthand. The officer enticed him with the statement, "'Now, if you would really wish to see how some of the lower class of Chinese live, this is not a bad place for the purpose. Go down that stair, push open the door at the foot, and walk right in.'" Armed with his guide's permission and his own sense of entitlement, Gleadell persevered. He came upon a room in which he was "just able to stand upright" and "with the exception of a stove in one corner" and some straw matting that "answered the purpose of a bed" was otherwise "quite destitute of furniture." At "one end crouched a man, while a woman sat in the centre, and a wretched little cur groveled between them." Then, "after a general survey"—complete with commentary on the "loathsome squalor" of Chinatown that was so typical of the tourist literature—Gleadell inquired, "Who lives here?" The man replied simply, "Me, wife, and little dog."(19)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Long-time San Franciscan Charles Warren Stoddard told a story of how when his "‘special,' by the authority vested in him" demanded admittance to a particular closed door, "a group of coolies" who lived in the vicinity and had followed the tourists tried to divert his attention by assuring him that the place was vacant. The officer refused to leave, decided to employ force to open the door, and when he did, succeeded in revealing four sleeping men, "packed" into what Stoddard described as an "air-tight compartment" and "insensible" to the "hearty greeting" the tourists offered. W H. Gleadell related invading the living quarters of an impoverished Chinese couple—upon his police guide's instruction—in order to be able to take in such a scene firsthand. The officer enticed him with the statement, "'Now, if you would really wish to see how some of the lower class of Chinese live, this is not a bad place for the purpose. Go down that stair, push open the door at the foot, and walk right in.'" Armed with his guide's permission and his own sense of entitlement, Gleadell persevered. He came upon a room in which he was "just able to stand upright" and "with the exception of a stove in one corner" and some straw matting that "answered the purpose of a bed" was otherwise "quite destitute of furniture." At "one end crouched a man, while a woman sat in the centre, and a wretched little cur groveled between them." Then, "after a general survey"—complete with commentary on the "loathsome squalor" of Chinatown that was so typical of the tourist literature—Gleadell inquired, "Who lives here?" The man replied simply, "Me, wife, and little dog."(19)</div></td></tr>
</table>Ccarlssonhttps://foundsf.org/index.php?title=Chinatown%27s_19th_Century_Tourist_Terrain&diff=25490&oldid=prevCcarlsson at 06:06, 29 June 20162016-06-29T06:06:38Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Opium-den-1.gif|300px|left]] [[Image:Filling-opium-pipe-2.gif|300px|right]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Opium-den-1.gif|300px|left]] [[Image:Filling-opium-pipe-2.gif|300px|right]]</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">[[Image:Old-blind-woman-3.gif|300px|left]] [[Image:Trimming-corns-4.gif|300px|right]]</del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''These images were packaged with others in a three-inch-square book let designed to be easily portable, well suited for carrying in a pocket or purse. While "Opium Den" (top left) and ''Filling Opium Pipe" (top right) presented expected tropes of the tourist terrain, "Old Blind Woman" (bottom left) and "Trimming His Corns" (bottom right) revealed the desire of tourists to view—and the power of the photographer to capture—ostensibly private, domestic scenes as well as vicious ones.'''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''These images were packaged with others in a three-inch-square book let designed to be easily portable, well suited for carrying in a pocket or purse. While "Opium Den" (top left) and ''Filling Opium Pipe" (top right) presented expected tropes of the tourist terrain, "Old Blind Woman" (bottom left) and "Trimming His Corns" (bottom right) revealed the desire of tourists to view—and the power of the photographer to capture—ostensibly private, domestic scenes as well as vicious ones.'''</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''Photos: Henry R. Knapp, 1889. Huntington Library''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''Photos: Henry R. Knapp, 1889. Huntington Library''</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Image:Old-blind-woman-3.gif|290px|left]] [[Image:Trimming-corns-4.gif|290px|right]]</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Long-time San Franciscan Charles Warren Stoddard told a story of how when his "‘special,' by the authority vested in him" demanded admittance to a particular closed door, "a group of coolies" who lived in the vicinity and had followed the tourists tried to divert his attention by assuring him that the place was vacant. The officer refused to leave, decided to employ force to open the door, and when he did, succeeded in revealing four sleeping men, "packed" into what Stoddard described as an "air-tight compartment" and "insensible" to the "hearty greeting" the tourists offered. W H. Gleadell related invading the living quarters of an impoverished Chinese couple—upon his police guide's instruction—in order to be able to take in such a scene firsthand. The officer enticed him with the statement, "'Now, if you would really wish to see how some of the lower class of Chinese live, this is not a bad place for the purpose. Go down that stair, push open the door at the foot, and walk right in.'" Armed with his guide's permission and his own sense of entitlement, Gleadell persevered. He came upon a room in which he was "just able to stand upright" and "with the exception of a stove in one corner" and some straw matting that "answered the purpose of a bed" was otherwise "quite destitute of furniture." At "one end crouched a man, while a woman sat in the centre, and a wretched little cur groveled between them." Then, "after a general survey"—complete with commentary on the "loathsome squalor" of Chinatown that was so typical of the tourist literature—Gleadell inquired, "Who lives here?" The man replied simply, "Me, wife, and little dog."(19)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Long-time San Franciscan Charles Warren Stoddard told a story of how when his "‘special,' by the authority vested in him" demanded admittance to a particular closed door, "a group of coolies" who lived in the vicinity and had followed the tourists tried to divert his attention by assuring him that the place was vacant. The officer refused to leave, decided to employ force to open the door, and when he did, succeeded in revealing four sleeping men, "packed" into what Stoddard described as an "air-tight compartment" and "insensible" to the "hearty greeting" the tourists offered. W H. Gleadell related invading the living quarters of an impoverished Chinese couple—upon his police guide's instruction—in order to be able to take in such a scene firsthand. The officer enticed him with the statement, "'Now, if you would really wish to see how some of the lower class of Chinese live, this is not a bad place for the purpose. Go down that stair, push open the door at the foot, and walk right in.'" Armed with his guide's permission and his own sense of entitlement, Gleadell persevered. He came upon a room in which he was "just able to stand upright" and "with the exception of a stove in one corner" and some straw matting that "answered the purpose of a bed" was otherwise "quite destitute of furniture." At "one end crouched a man, while a woman sat in the centre, and a wretched little cur groveled between them." Then, "after a general survey"—complete with commentary on the "loathsome squalor" of Chinatown that was so typical of the tourist literature—Gleadell inquired, "Who lives here?" The man replied simply, "Me, wife, and little dog."(19)</div></td></tr>
</table>Ccarlssonhttps://foundsf.org/index.php?title=Chinatown%27s_19th_Century_Tourist_Terrain&diff=25489&oldid=prevCcarlsson at 06:03, 29 June 20162016-06-29T06:03:00Z<p></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
<col class="diff-marker" />
<col class="diff-content" />
<col class="diff-marker" />
<col class="diff-content" />
<tr class="diff-title" lang="en">
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 23:03, 28 June 2016</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l21">Line 21:</td>
<td colspan="2" class="diff-lineno">Line 21:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Tourist literature's representations racialized the Chinese in terms of their unassimilability, their proclivity toward vice, the risks they posed to public health, and the threat they presented free white labor. These representations dovetailed with the logic of a developing local racial hierarchy that placed the Chinese on the lowest rung as well as with larger policy debates about Chinese immigration.(6) Across class lines, whites positioned the Chinese below San Francisco's small population of blacks, the group that was typically positioned at the bottom of the racial ladder throughout much of the rest of the nation. As a result, "Chinese" and "white" rather than "black" and "white" emerged as the most potent racial opposites in the city, configuring its most highly charged racial divide. The way this process worked in San Francisco set important precedents for the nation as it was one of the first major American cities to incorporate a large Asian minority population. Moreover, while tourist literature's representations had particular significance within the locality of San Francisco, they also gave images of Chinatown and Chinese immigrants national and international circulation. E.G.H.'s account, for example, was published by a Boston press. Through these images, Chinese immigrants entered the racial imagination even in places where they had not settled and where people may have never actually seen an Asian person. As growing hostility in the West led increasing numbers of Chinese to settle and establish Chinatowns in cities such as New York and Boston, tourist literature generated templates of meaning that framed the way such developments would be received.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Tourist literature's representations racialized the Chinese in terms of their unassimilability, their proclivity toward vice, the risks they posed to public health, and the threat they presented free white labor. These representations dovetailed with the logic of a developing local racial hierarchy that placed the Chinese on the lowest rung as well as with larger policy debates about Chinese immigration.(6) Across class lines, whites positioned the Chinese below San Francisco's small population of blacks, the group that was typically positioned at the bottom of the racial ladder throughout much of the rest of the nation. As a result, "Chinese" and "white" rather than "black" and "white" emerged as the most potent racial opposites in the city, configuring its most highly charged racial divide. The way this process worked in San Francisco set important precedents for the nation as it was one of the first major American cities to incorporate a large Asian minority population. Moreover, while tourist literature's representations had particular significance within the locality of San Francisco, they also gave images of Chinatown and Chinese immigrants national and international circulation. E.G.H.'s account, for example, was published by a Boston press. Through these images, Chinese immigrants entered the racial imagination even in places where they had not settled and where people may have never actually seen an Asian person. As growing hostility in the West led increasing numbers of Chinese to settle and establish Chinatowns in cities such as New York and Boston, tourist literature generated templates of meaning that framed the way such developments would be received.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>E.G.H. captured an incredibly wide range of the experiences available to and sought after by Chinatown tourists. She made sure to visit the four key sites of Chinatown's tourist terrain—[[Chinese Restaurants in the 19th Century|restaurants]], [[Joss Houses—Chinese Temples|joss houses]], [[Opium Dens in Chinatown|opium dens]], and [[Chinese Theater in the 19th Century<del style="font-weight: bold; text-decoration: none;">|</del>|theaters]]—and also took in some other popular, but nonetheless secondary, sights—women with bound feet, gambling dens, and shops. Like many tourists, her experiences occurred within nineteenth-century America's emergent Orientalism, which promoted a disdain for resident Asians but also a prurient fascination with a limited, largely manufactured, brand of Asian culture. The tension inherent in this kind of thinking about all things Oriental allowed E.G.H. to befriend Chin Jun and delight in Chinese food and wares while maintaining a perspective on Chinatown as utterly alien and believing her sojourn there would not be complete until she saw the Chinese displayed in stereotypically vicious pursuits.(7) Although representations of Chinatown more often than not worked to create a sense of insurmountable distance between Chinese and whites, the very presence of white tourists in Chinatown meant that on this cultural frontier real encounters between the two groups were taking place in ways that sometimes disrupted the dominant story—as the friendship between E.G.H. and Chin Jun attests—and at other times confirmed it. While Chinatown existed as a segregated space set apart from the rest of the city, its visitors and residents constantly negotiated a complicated dance of white social power and Chinese local knowledge that allowed both the tourist enterprise and the transgression of the racial boundaries that Chinatown represented to occur.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>E.G.H. captured an incredibly wide range of the experiences available to and sought after by Chinatown tourists. She made sure to visit the four key sites of Chinatown's tourist terrain—[[Chinese Restaurants in the 19th Century|restaurants]], [[Joss Houses—Chinese Temples|joss houses]], [[Opium Dens in Chinatown|opium dens]], and [[Chinese Theater in the 19th Century|theaters]]—and also took in some other popular, but nonetheless secondary, sights—women with bound feet, gambling dens, and shops. Like many tourists, her experiences occurred within nineteenth-century America's emergent Orientalism, which promoted a disdain for resident Asians but also a prurient fascination with a limited, largely manufactured, brand of Asian culture. The tension inherent in this kind of thinking about all things Oriental allowed E.G.H. to befriend Chin Jun and delight in Chinese food and wares while maintaining a perspective on Chinatown as utterly alien and believing her sojourn there would not be complete until she saw the Chinese displayed in stereotypically vicious pursuits.(7) Although representations of Chinatown more often than not worked to create a sense of insurmountable distance between Chinese and whites, the very presence of white tourists in Chinatown meant that on this cultural frontier real encounters between the two groups were taking place in ways that sometimes disrupted the dominant story—as the friendship between E.G.H. and Chin Jun attests—and at other times confirmed it. While Chinatown existed as a segregated space set apart from the rest of the city, its visitors and residents constantly negotiated a complicated dance of white social power and Chinese local knowledge that allowed both the tourist enterprise and the transgression of the racial boundaries that Chinatown represented to occur.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:White-women-walking-through-Chinatown.jpg]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:White-women-walking-through-Chinatown.jpg]]</div></td></tr>
</table>Ccarlssonhttps://foundsf.org/index.php?title=Chinatown%27s_19th_Century_Tourist_Terrain&diff=25484&oldid=prevCcarlsson at 05:52, 29 June 20162016-06-29T05:52:14Z<p></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
<col class="diff-marker" />
<col class="diff-content" />
<col class="diff-marker" />
<col class="diff-content" />
<tr class="diff-title" lang="en">
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 22:52, 28 June 2016</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l21">Line 21:</td>
<td colspan="2" class="diff-lineno">Line 21:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Tourist literature's representations racialized the Chinese in terms of their unassimilability, their proclivity toward vice, the risks they posed to public health, and the threat they presented free white labor. These representations dovetailed with the logic of a developing local racial hierarchy that placed the Chinese on the lowest rung as well as with larger policy debates about Chinese immigration.(6) Across class lines, whites positioned the Chinese below San Francisco's small population of blacks, the group that was typically positioned at the bottom of the racial ladder throughout much of the rest of the nation. As a result, "Chinese" and "white" rather than "black" and "white" emerged as the most potent racial opposites in the city, configuring its most highly charged racial divide. The way this process worked in San Francisco set important precedents for the nation as it was one of the first major American cities to incorporate a large Asian minority population. Moreover, while tourist literature's representations had particular significance within the locality of San Francisco, they also gave images of Chinatown and Chinese immigrants national and international circulation. E.G.H.'s account, for example, was published by a Boston press. Through these images, Chinese immigrants entered the racial imagination even in places where they had not settled and where people may have never actually seen an Asian person. As growing hostility in the West led increasing numbers of Chinese to settle and establish Chinatowns in cities such as New York and Boston, tourist literature generated templates of meaning that framed the way such developments would be received.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Tourist literature's representations racialized the Chinese in terms of their unassimilability, their proclivity toward vice, the risks they posed to public health, and the threat they presented free white labor. These representations dovetailed with the logic of a developing local racial hierarchy that placed the Chinese on the lowest rung as well as with larger policy debates about Chinese immigration.(6) Across class lines, whites positioned the Chinese below San Francisco's small population of blacks, the group that was typically positioned at the bottom of the racial ladder throughout much of the rest of the nation. As a result, "Chinese" and "white" rather than "black" and "white" emerged as the most potent racial opposites in the city, configuring its most highly charged racial divide. The way this process worked in San Francisco set important precedents for the nation as it was one of the first major American cities to incorporate a large Asian minority population. Moreover, while tourist literature's representations had particular significance within the locality of San Francisco, they also gave images of Chinatown and Chinese immigrants national and international circulation. E.G.H.'s account, for example, was published by a Boston press. Through these images, Chinese immigrants entered the racial imagination even in places where they had not settled and where people may have never actually seen an Asian person. As growing hostility in the West led increasing numbers of Chinese to settle and establish Chinatowns in cities such as New York and Boston, tourist literature generated templates of meaning that framed the way such developments would be received.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>E.G.H. captured an incredibly wide range of the experiences available to and sought after by Chinatown tourists. She made sure to visit the four key sites of Chinatown's tourist terrain—[[Chinese Restaurants in the 19th Century|restaurants]], joss houses, opium dens, and <del style="font-weight: bold; text-decoration: none;">theaters—and </del>also took in some other popular, but nonetheless secondary, sights—women with bound feet, gambling dens, and shops. Like many tourists, her experiences occurred within nineteenth-century America's emergent Orientalism, which promoted a disdain for resident Asians but also a prurient fascination with a limited, largely manufactured, brand of Asian culture. The tension inherent in this kind of thinking about all things Oriental allowed E.G.H. to befriend Chin Jun and delight in Chinese food and wares while maintaining a perspective on Chinatown as utterly alien and believing her sojourn there would not be complete until she saw the Chinese displayed in stereotypically vicious pursuits.(7) Although representations of Chinatown more often than not worked to create a sense of insurmountable distance between Chinese and whites, the very presence of white tourists in Chinatown meant that on this cultural frontier real encounters between the two groups were taking place in ways that sometimes disrupted the dominant story—as the friendship between E.G.H. and Chin Jun attests—and at other times confirmed it. While Chinatown existed as a segregated space set apart from the rest of the city, its visitors and residents constantly negotiated a complicated dance of white social power and Chinese local knowledge that allowed both the tourist enterprise and the transgression of the racial boundaries that Chinatown represented to occur.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>E.G.H. captured an incredibly wide range of the experiences available to and sought after by Chinatown tourists. She made sure to visit the four key sites of Chinatown's tourist terrain—[[Chinese Restaurants in the 19th Century|restaurants]], <ins style="font-weight: bold; text-decoration: none;">[[Joss Houses—Chinese Temples|</ins>joss houses<ins style="font-weight: bold; text-decoration: none;">]]</ins>, <ins style="font-weight: bold; text-decoration: none;">[[Opium Dens in Chinatown|</ins>opium dens<ins style="font-weight: bold; text-decoration: none;">]]</ins>, and <ins style="font-weight: bold; text-decoration: none;">[[Chinese Theater in the 19th Century||theaters]]—and </ins>also took in some other popular, but nonetheless secondary, sights—women with bound feet, gambling dens, and shops. Like many tourists, her experiences occurred within nineteenth-century America's emergent Orientalism, which promoted a disdain for resident Asians but also a prurient fascination with a limited, largely manufactured, brand of Asian culture. The tension inherent in this kind of thinking about all things Oriental allowed E.G.H. to befriend Chin Jun and delight in Chinese food and wares while maintaining a perspective on Chinatown as utterly alien and believing her sojourn there would not be complete until she saw the Chinese displayed in stereotypically vicious pursuits.(7) Although representations of Chinatown more often than not worked to create a sense of insurmountable distance between Chinese and whites, the very presence of white tourists in Chinatown meant that on this cultural frontier real encounters between the two groups were taking place in ways that sometimes disrupted the dominant story—as the friendship between E.G.H. and Chin Jun attests—and at other times confirmed it. While Chinatown existed as a segregated space set apart from the rest of the city, its visitors and residents constantly negotiated a complicated dance of white social power and Chinese local knowledge that allowed both the tourist enterprise and the transgression of the racial boundaries that Chinatown represented to occur.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:White-women-walking-through-Chinatown.jpg]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:White-women-walking-through-Chinatown.jpg]]</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l57">Line 57:</td>
<td colspan="2" class="diff-lineno">Line 57:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Police guides, moreover, were known for deploying quite brutal, invasive, and generally disrespectful tactics that included kicking doors open, forcing their way into private living quarters, waking people from sleep, and shining bright lights into people's faces. Whether these encounters were staged or not, they made violence an expected part of the tourist experience in Chinatown. Local photographers capitalized on these expectations and sold souvenir photographs that claimed to "show the Chinaman taken by surprise, as the flash light illuminates his den." Photographer Henry R. Knapp packaged his series of such images in a three-inch square booklet, which made them easily portable and well suited for carrying in one's pocket or purse. The scenes he captured and captioned included the expected "Opium Den" and "Filling Opium Pipe," but the inclusion of "Old Blind Chinese Woman, Aged 77" and "Trimming His Corns" disclosed tourists' appetite for being let into private moments, not just vicious ones.(18)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Police guides, moreover, were known for deploying quite brutal, invasive, and generally disrespectful tactics that included kicking doors open, forcing their way into private living quarters, waking people from sleep, and shining bright lights into people's faces. Whether these encounters were staged or not, they made violence an expected part of the tourist experience in Chinatown. Local photographers capitalized on these expectations and sold souvenir photographs that claimed to "show the Chinaman taken by surprise, as the flash light illuminates his den." Photographer Henry R. Knapp packaged his series of such images in a three-inch square booklet, which made them easily portable and well suited for carrying in one's pocket or purse. The scenes he captured and captioned included the expected "Opium Den" and "Filling Opium Pipe," but the inclusion of "Old Blind Chinese Woman, Aged 77" and "Trimming His Corns" disclosed tourists' appetite for being let into private moments, not just vicious ones.(18)</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Opium-den-1.gif|<del style="font-weight: bold; text-decoration: none;">330px</del>|left]] [[Image:Filling-opium-pipe-2.gif|<del style="font-weight: bold; text-decoration: none;">330px</del>|right]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Opium-den-1.gif|<ins style="font-weight: bold; text-decoration: none;">300px</ins>|left]] [[Image:Filling-opium-pipe-2.gif|<ins style="font-weight: bold; text-decoration: none;">300px</ins>|right]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Old-blind-woman-3.gif|<del style="font-weight: bold; text-decoration: none;">330px</del>|left]] [[Image:Trimming-corns-4.gif|<del style="font-weight: bold; text-decoration: none;">330px</del>|right]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Old-blind-woman-3.gif|<ins style="font-weight: bold; text-decoration: none;">300px</ins>|left]] [[Image:Trimming-corns-4.gif|<ins style="font-weight: bold; text-decoration: none;">300px</ins>|right]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''These images were packaged with others in a three-inch-square book let designed to be easily portable, well suited for carrying in a pocket or purse. While "Opium Den" (top left) and ''Filling Opium Pipe" (top right) presented expected tropes of the tourist terrain, "Old Blind Woman" (bottom left) and "Trimming His Corns" (bottom right) revealed the desire of tourists to view—and the power of the photographer to capture—ostensibly private, domestic scenes as well as vicious ones.'''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''These images were packaged with others in a three-inch-square book let designed to be easily portable, well suited for carrying in a pocket or purse. While "Opium Den" (top left) and ''Filling Opium Pipe" (top right) presented expected tropes of the tourist terrain, "Old Blind Woman" (bottom left) and "Trimming His Corns" (bottom right) revealed the desire of tourists to view—and the power of the photographer to capture—ostensibly private, domestic scenes as well as vicious ones.'''</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l115">Line 115:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>24. Rev.]. C. Holbrook, "Chinadom in California," Hutchings' Illustrated California Magazine 4 (1859-1860): 130. For reference to the foreign-ness of Chinatown, see also Carey, By the Golden Gate, 136-137; Bode, Lights and Shadows of Chinatown, npn; Lucien Biart, My Rambles in the New World, trans. Mary de Hauteville (London: Sampson Low, Marston, Searle and Rivington, 1877), 83-84; G. B. Densmore, The Chinese in California: Description of Chinese Life in San Francisco, Their Habits, Morals, and Manners, illustrated by Voegtlin (San Francisco: Pettit and Russ, 1880), 21; William Doxey, Doxey's Guide to San Francisco and the Pleasure Resorts of California (San Francisco: At the Sign of the Lark, 1897), 116-117; "Chinese Highbinders," Harper's Weekly (February 13, 1890): 103; C. Baldwin, "A Celestial Colony," Lippincott's Magazine (February 1881): 23; "'China Town' in San Francisco," 50; Gleadell, "Night Scenes in Chinatown," 1895, 379; "The Chinese in San Francisco," Harper's Weekly (March 20 , 1880): 182; "Lenz's World Tour," Outing, An Illustrated Monthly Magazine of Recreation 22, no. 5 (August 1893): 363; Connor, "Western View of the Chinese," 374; Kessler, "Evening in Chinatown," 445; Caldwell, "Picturesque in Chinatown," 653; Will Brooks, "Fragment of China," Californian 6, no. 31 July 1882): 2; New California Tourists' Guide to San Francisco and Vicinity (San Francisco: Samuel Carson, 1886), 59; Mabel C. Craft, "Some Days and Nights in Little China," National Magazine (November 1897), 100, 109; Charles Keeler, San Francisco and Thereabout (San Francisco: California Promotion Committee, 1902), 65; George Hamlin Fitch, "The City by the Golden Gate" Chautauquan 23, no. 6 (September 1896): 666; Lloyd, Lights and Shades, 2 36; and AM., "A Glimpse of San Francisco," Lippincott's Magazine June 1870): 645. <br></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>24. Rev.]. C. Holbrook, "Chinadom in California," Hutchings' Illustrated California Magazine 4 (1859-1860): 130. For reference to the foreign-ness of Chinatown, see also Carey, By the Golden Gate, 136-137; Bode, Lights and Shadows of Chinatown, npn; Lucien Biart, My Rambles in the New World, trans. Mary de Hauteville (London: Sampson Low, Marston, Searle and Rivington, 1877), 83-84; G. B. Densmore, The Chinese in California: Description of Chinese Life in San Francisco, Their Habits, Morals, and Manners, illustrated by Voegtlin (San Francisco: Pettit and Russ, 1880), 21; William Doxey, Doxey's Guide to San Francisco and the Pleasure Resorts of California (San Francisco: At the Sign of the Lark, 1897), 116-117; "Chinese Highbinders," Harper's Weekly (February 13, 1890): 103; C. Baldwin, "A Celestial Colony," Lippincott's Magazine (February 1881): 23; "'China Town' in San Francisco," 50; Gleadell, "Night Scenes in Chinatown," 1895, 379; "The Chinese in San Francisco," Harper's Weekly (March 20 , 1880): 182; "Lenz's World Tour," Outing, An Illustrated Monthly Magazine of Recreation 22, no. 5 (August 1893): 363; Connor, "Western View of the Chinese," 374; Kessler, "Evening in Chinatown," 445; Caldwell, "Picturesque in Chinatown," 653; Will Brooks, "Fragment of China," Californian 6, no. 31 July 1882): 2; New California Tourists' Guide to San Francisco and Vicinity (San Francisco: Samuel Carson, 1886), 59; Mabel C. Craft, "Some Days and Nights in Little China," National Magazine (November 1897), 100, 109; Charles Keeler, San Francisco and Thereabout (San Francisco: California Promotion Committee, 1902), 65; George Hamlin Fitch, "The City by the Golden Gate" Chautauquan 23, no. 6 (September 1896): 666; Lloyd, Lights and Shades, 2 36; and AM., "A Glimpse of San Francisco," Lippincott's Magazine June 1870): 645. <br></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>25. For an extended analysis of the way public health and race came together in Chinatown, see Nyan Shah, Contagious Divides: Epidemics and Race in San Francisco's Chinatown (Berkeley: University of California Press, 2001). Densmore, Chinese in California, 1880. Also, Gibson, Chinese in America, 63-64; Willard B. Farwell, The Chinese at Home And Abroad: Together with the Report of the Special Committee of the Board of Supervisors of San Francisco on the Condition of the Chinese Quarter of That City (San Francisco: A. L. Bancroft, 1885), 53-54, 59; and "Horrors of a Great City." <br></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>25. For an extended analysis of the way public health and race came together in Chinatown, see Nyan Shah, Contagious Divides: Epidemics and Race in San Francisco's Chinatown (Berkeley: University of California Press, 2001). Densmore, Chinese in California, 1880. Also, Gibson, Chinese in America, 63-64; Willard B. Farwell, The Chinese at Home And Abroad: Together with the Report of the Special Committee of the Board of Supervisors of San Francisco on the Condition of the Chinese Quarter of That City (San Francisco: A. L. Bancroft, 1885), 53-54, 59; and "Horrors of a Great City." <br></div></td></tr>
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</table>Ccarlssonhttps://foundsf.org/index.php?title=Chinatown%27s_19th_Century_Tourist_Terrain&diff=25472&oldid=prevCcarlsson at 05:20, 29 June 20162016-06-29T05:20:24Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 22:20, 28 June 2016</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l57">Line 57:</td>
<td colspan="2" class="diff-lineno">Line 57:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Police guides, moreover, were known for deploying quite brutal, invasive, and generally disrespectful tactics that included kicking doors open, forcing their way into private living quarters, waking people from sleep, and shining bright lights into people's faces. Whether these encounters were staged or not, they made violence an expected part of the tourist experience in Chinatown. Local photographers capitalized on these expectations and sold souvenir photographs that claimed to "show the Chinaman taken by surprise, as the flash light illuminates his den." Photographer Henry R. Knapp packaged his series of such images in a three-inch square booklet, which made them easily portable and well suited for carrying in one's pocket or purse. The scenes he captured and captioned included the expected "Opium Den" and "Filling Opium Pipe," but the inclusion of "Old Blind Chinese Woman, Aged 77" and "Trimming His Corns" disclosed tourists' appetite for being let into private moments, not just vicious ones.(18)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Police guides, moreover, were known for deploying quite brutal, invasive, and generally disrespectful tactics that included kicking doors open, forcing their way into private living quarters, waking people from sleep, and shining bright lights into people's faces. Whether these encounters were staged or not, they made violence an expected part of the tourist experience in Chinatown. Local photographers capitalized on these expectations and sold souvenir photographs that claimed to "show the Chinaman taken by surprise, as the flash light illuminates his den." Photographer Henry R. Knapp packaged his series of such images in a three-inch square booklet, which made them easily portable and well suited for carrying in one's pocket or purse. The scenes he captured and captioned included the expected "Opium Den" and "Filling Opium Pipe," but the inclusion of "Old Blind Chinese Woman, Aged 77" and "Trimming His Corns" disclosed tourists' appetite for being let into private moments, not just vicious ones.(18)</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Opium-den-1.gif|330px|left]] [[Filling-opium-pipe-2.gif|330px|right]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Opium-den-1.gif|330px|left]] [[<ins style="font-weight: bold; text-decoration: none;">Image:</ins>Filling-opium-pipe-2.gif|330px|right]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Old-blind-woman-3.gif|330px|left]] [[Image:Trimming-corns-4.gif|330px|right]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Old-blind-woman-3.gif|330px|left]] [[Image:Trimming-corns-4.gif|330px|right]]</div></td></tr>
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