Timon Screech
Timon Screech is a professor in the history of art at the School of Oriental and African Studies (SOAS), University of London. He is a specialist in the art and culture of early modern Japan.
In 1985, Timon Screech received a BA in Oriental studies (Japanese) at the University of Oxford. In 1991, he completed his PhD in art history at Harvard University. Since graduating from Harvard, he has been at SOAS; and he has also been visiting professor of Art History at the University of Chicago, and guest researcher at Gakushuin University and Waseda University in Tokyo. Screech is a Permanent Visiting Professor at Tama University of the Arts, Tokyo. His main current research project is related to the deification of the first shogun, Tokugawa Ieyasu, and the cult established for him at Nikkō.[1]
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[edit] SOAS
In SOAS's Department of Art & Archaeology, Screech is a Professor of the history of art. Professor Screech's particular areas of interest are the history of Japanese art; Edo painting; contacts between Japan and Europe in the 18th century; history of science in Japan; and the theory of art history. He was elected to a Chair in the history of art in 2006. Screech also serves a chair of SOAS's Japan Research Centre.
[edit] Sainsbury Institute
Screech is a London-based staff member of the Sainsbury Institute for the Study of Japanese Arts and Cultures, which was founded in 1999 by Sir Robert Sainsbury and Lady Sainsbury. The independent Sainsbury Institute is affiliated with the University of East Anglia (UEA) in association with SOAS.
[edit] Japan Society
Screech also serves on the executive board of the Japan Society of London.
[edit] Published work
- Screech, Timon. (2007). Ningen kouryuu no edo bijutsushi [Edo art and the exchange of persons]. Tokyo: University of Tokyo Press.
- __________. (2006). Secret Memoirs of the Shoguns: Isaac Titsingh and Japan, 1779-1822. London: RoutledgeCurzon. 10-ISBN 0203099850, 13-ISBN 9780203099858; OCLC 65177072
- __________. (2006). Edo no igirisu netsu [Britain in the Edo Period]. Tokyo: Kodansha. 10-ISBN 4-0625-8352-6
- __________. (2005). "Pictures, the Most Part Bawdy: The Anglo-Japanese Painting Trade in the Early 1600s," Art Bulletin. Vol. 87, No. 1, pp. 50–72.
- __________. (2005). "Introduction," Japan Extolled and Decried: Park Oeter Thunberg and the Shogun's Realm. London: RoutledgeCurzon.
- __________. (2005). Japan Extolled and Decried: Carl Peter Thunberg and Japan. London: RoutledgeCurzon. 13-ISBN 978-0-7007-1719-4 (cloth); ISBN 978-0-203-02035-7 (electronic)
- __________. (2003). Sex and Consumerism in Edo Japan. In: Consuming Bodies: Sex and Consumerism in Japanese Contemporary Art. London: Reaktion Books.
- __________. (2002). "Dressing Samuel Pepys: Japanese Garments and International Diplomacy in the Edo Period," Orientations. Vol. 2, pp. 50–57.
- __________. (2002). "Erotyczne obrazy japonskie 1700-1820." Universitas Krakow. 10-ISBN 1-8618-9030-3
- __________. (2002). "The Edo Pleasure Districts as 'Pornotopia'," Orientations, Vol. 2, pp. 36–42.
- __________. (2001) "The Birth of the Anatomical Body," Births and Rebirths in Japanese Art. Leiden: Hotei Press.
- __________. (2001). "The visual legacy of Dodonaeus in botanical and Human Categorisation," Dodonaeus in Japan: Translation and the Scientific Mind in Tokugawa Japan. Leuven: Leuven University Press.
- __________. (2000). The Shogun's Painted Culture: Fear and Creativity in the Japanese States, 1760-1829. London: Reaktion Books. (London). 10-ISBN 1-8618-9064-8
- __________. (1998). Sex and the Floating World: Erotic Imagery in Japan, 1720-1810. London: Reaktion Books. ISBN 1-8618-9030-3.
- __________. (1997). Edo no jintai o hiraku [Opening the Edo Body]. Tokyo: Sakuhinsha. 10-ISBN 4-8789-3753-X.
- __________. (1996). The Western Scientific Gaze and Popular Imagery in Later Edo Japan. Cambridge: Cambridge University Press. 10-ISBN 0-5214-6106-5.
