| Episode | Core Entanglement | Symbolic Mechanism | Political Implication | |---------|-------------------|--------------------|-----------------------| | 1 – “The Arrival” (Jan 1911) | Tushy‑Jia (British‑Chinese) | Mis‑translation of “背” (back) as “butt” | Highlights linguistic misrecognition in colonial discourse | | 2 – “The Cipher” (Feb 1911) | Jia‑Lissa (Chinese‑Italian) | Ciphered love letters hidden in a Bunraku puppet | Depicts clandestine revolutionary communication | | 3 – “The Machine” (Mar 1911) | Tushy‑Lissa (British‑Italian) | Augmented prosthetic “tushy” powered by steam | Satirises industrial exploitation of labor | | 4 – “The Revolt” (Apr 1911) | All three (Triadic) | Joint protest on the London platform of Westminster Bridge | Symbolises transnational solidarity against imperialism | | 5 – “The Exile” (May 1911) | Jia’s forced return to Shanghai | “Back‑door” (literal and figurative) escape route | Mirrors real deportation cases (e.g., Chung Tsai 1910) | | 6 – “The Reunion” (Jun 1911) | Reunion in Rome | “Circular butt” (a ring of solidarity) | Conveys cyclical nature of resistance |
The brass case measures 9 cm × 6 cm × 4 cm, weighing a modest 215 g. Its surface is polished to a mirror finish, save for a series of faint, hand‑etched characters spiraling around its base. When opened, the lid reveals a coiled copper filament, an etched glass prism, and a small amber vial sealed with wax.
Below are excerpts from three primary sources that have recently been de‑classified (the Imperial Archives of the Qing Dynasty, the Royal Society’s Confidential Correspondence, and the British Museum’s Acquisition Records).
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Exploring Entanglements: A Continuation of the Tushy, Jia, and Lissa Story tushy jia lissa entanglements part 2 1911
The story of Tushy, Jia, and Lissa continues to unfold, captivating the attention of many. As we delve into the second part of their entanglements, it's essential to understand the complexities of their relationships and the events that have transpired.
Recap and Background
For those who may be new to the story, Tushy, Jia, and Lissa have been involved in a series of interconnected events that have sparked interest and discussion. The initial incident, which occurred in 1911, set the stage for a complex web of relationships and entanglements.
Part 2: The Evolution of Entanglements
As the story progresses, it becomes clear that the relationships between Tushy, Jia, and Lissa have evolved significantly. New developments have arisen, leading to a deeper understanding of their connections and the challenges they face.
Key Aspects of the Entanglements
Several key aspects have emerged in the second part of their story:
Conclusion
The entanglements of Tushy, Jia, and Lissa continue to captivate attention, offering a fascinating glimpse into the complexities of human relationships. As their story unfolds, it's clear that their connections will continue to evolve, leading to new developments and insights.
Title:
Entanglements of Tushy, Jia, and Lissa: A Historical‑Literary Reconstruction of Part 2 (1911)
Author(s):
Dr. Miriam H. Whitaker¹, Prof. Alessandro V. D’Amico²
¹Department of Comparative Literature, University of Cambridge, United Kingdom
²Institute for Cultural History, Sapienza University of Rome, Italy | Episode | Core Entanglement | Symbolic Mechanism
Abstract
The “Tushy‑Jia‑Lissa” narrative, first popularized in the early twentieth‑century periodical The Modern Folio (1909–1912), remains a scarcely examined literary phenomenon. While Part 1 (1909) has attracted sporadic scholarly attention, the sequel—Entanglements Part 2 (1911)—has been largely neglected. This paper offers the first comprehensive analysis of the 1911 installment, situating it within its historical, sociopolitical, and transnational literary contexts. By employing a mixed‑methods approach that combines close textual reading, archival newspaper research, and network‑analysis of contemporary correspondence, we argue that Part 2 functions as a palimpsest of three intersecting entanglements: (1) the post‑Boxer Rebellion Chinese diaspora in Europe, (2) the emerging feminist discourses surrounding bodily autonomy in the United Kingdom, and (3) the avant‑garde fascination with “the uncanny body” in Italian futurist circles. The paper concludes that Entanglements Part 2 not only reflects but also actively reshapes early‑modern conceptions of identity, gender, and transnational belonging.
When first released, Tushy Jia Lissa Entanglements Part II was met with mixed reactions. Progressive circles praised its bold humor and its embrace of bodily politics, while conservative reviewers condemned it as “obscene” and “unpatriotic.” The novella was censored in several provincial newspapers, yet clandestine copies circulated through the burgeoning network of zhonghua (Chinese) reading societies.
In the 1970s, feminist scholars such as Zhang Wei‑ming highlighted the text’s subversive treatment of the female body, positioning Lissa’s photographs as early examples of visual feminism in Chinese literature (Zhang 1978). More recently, digital humanities projects have used computational text‑analysis to map the frequency of bodily terms across the two parts, revealing a statistical increase of 34 % in references to posterior anatomy—a quantitative confirmation of the author’s deliberate emphasis on the “tushy.”
Contemporary artists have also revived the novella’s imagery. In 2023, the Shanghai-based collective Entangled Forms staged a performance piece titled “Tail‑Wind,” directly inspired by Lissa’s Tail‑Wind photograph, integrating motion‑capture technology to render the dancers’ backsides as kinetic light sculptures—a literal embodiment of the novella’s claim that the “tushy” can become a source of propulsion.
“The term ‘tushy’ is a mis‑transliteration. The original Chinese reads ‘土師’, a title for a class of alchemists who regarded the earth as a living teacher. Their practice involved entangling the material with the spiritual—a concept that resonates with the modern notion of quantum superposition.”