In Part 2, we trace the journey of the 1911 find from its unassuming arrival in Shanghai to its eventual, controversial placement in the London Museum of Antiquities. We will interview the key players, examine the primary documents, and explore the most daring hypotheses that have arisen in the last fifteen years.
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| 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 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 | Jia Lissa didn’t just appear in Tushy scenes;
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