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This is the first English translation of a text outlining a distinctively plebian Japanese aesthetic based on a unique category of taste, "iki"
First Published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.
In this book, Graham Mayeda demonstrates how Watsuji Tetsuro and Kuki Shuzo, two twentieth-century Japanese philosophers, criticize and interpret Heideggerian philosophy, articulating traditional Japanese ethics in a modern idiom.
Kuki Shûzô (1888–1941), one of Japan’s most original thinkers of the twentieth century, is best known for his interpretations of Western Continental philosophy. His works on and of poetry are less well known but equally illuminating. During his eight years studying in Europe in the 1920s, Kuki spent time in Paris, where he wrote several collections of poetry and many short poems in the tanka style. Included in this volume are these Paris poems as well as other verses that Kuki appended to a long essay on poetry, "Rhymes in Japanese Poetry," written in 1931. Included as well are translations of two of Kuki’s major critical essays on poetry, "The Genealogy of Feelings: A Guide to Poetry" (1938) and "The Metaphysics of Literature" (1940). Michael Marra, one of the West’s foremost authorities on modern Japanese aesthetics, prefaces his translations with an important essay that gives an account of the current state of Kuki studies in English and presents an intriguing and original interpretation of Kuki’s writings. Marra argues that there is an unresolved tension in Kuki’s thought between a desire to overcome the rigid schemes of metaphysics, garnered from his knowledge of French and German philosophy, on the one hand, and a constant hesitation to let those schemes go, which is expressed in his verse.
Essays on Japan is a compilation of Professor Michael F. Marra’s essays written in the past ten years on the topics of Japanese literature, Japanese aesthetics, and the space between the two subjects.
The tea ceremony and the martial arts are intimately linked in the popular and historical imagination with Zen Buddhism, and Japanese culture. They are commonly interpreted as religio-aesthetic pursuits which express core spiritual values through bodily gesture and the creation of highly valued objects. Ideally, the experience of practising the Zen arts culminates in enlightenment. This book challenges that long-held view and proposes that the Zen arts should be understood as part of a literary and visual history of representing Japanese culture through the arts. Cox argues that these texts and images emerged fully as systems for representing the arts during the modern period, produced within Japan as a form of cultural nationalism and outside Japan as part of an orientalist discourse. Practitioners' experiences are in fact rarely referred to in terms of Zen or art, but instead are spatially and socially grounded. Combining anthropological description with historical criticism, Cox shows that the Zen arts are best understood in terms of a dynamic relationship between an aesthetic discourse on art and culture and the social and embodied experiences of those who participate in them.
The multiple and diverse forces of globalization have, indeed, affected Japan significantly over the past decades. But so, it must be said, has Japan influenced a variety of critical global developments - globalization is not a one-way street, particularly for a nation as economically influential and technologically advanced as Japan. The chapters in this collection examine the impact of globalization on Japan and the impact of Japan on the forces of globalization from the various disciplinary perspectives of business, the economy, politics, technology, culture and society. They also explain the manner in which the nation has responded to the economic and cultural liberalization that has been such a profound force for change around the globe. This comprehensive collected works brings the latest research to bear on this important subject and provides evidence of the long history of global influences on Japan – and Japanese impacts on the rest of the world. This book will be of interest to students and scholars of globalization, Japanese Studies, and Asian Studies.
The development of phenomenological philosophy in Japan is a well-established tradition that reaches back to the early 20th-century. The past decades have witnessed significant contributions and advances in different areas of phenomenological thought in Japan that remain unknown, or only partially known, to an international philosophical public. This volume offers a selection of original phenomenological research in Japan to an international audience in the form of an English language publication. The contributions in this volume range over classical figures in the phenomenological movement (Husserl, Heidegger, Levinas, Merleau-Monty), recent trends in French phenomenology, and contemporary inter-disciplinary approaches. In addition to this diverse engagement with European thinkers, many of the contributions in this volume establish critical and complimentary discussions with 20th-century Japanese philosophers.
In this, the first collection in English of feminist-oriented research on Japanese art and visual culture, an international group of scholars examines representations of women in a wide range of visual work. The volume begins with Chino Kaori's now-classic essay Gender in Japanese Art, which introduced feminist theory to Japanese art. This is followed by a closer look at a famous thirteenth-century battle scroll and the production of bijin (beautiful women) prints within the world of Edoperiod advertising. A rare homoerotic picture-book is used to extrapolate the grammar of desire as represented in late seventeenth-century Edo. In the modern period, contributors consider the introduction to Meiji Japan of the Western nude and oil-painting and examine Nihonga (Japanese-style painting) and the role of one of its famous artists. The book then shifts its focus to an examination of paintings produced for the Japanese-sponsored annual salons held in colonial Korea. The post-war period comes under scrutiny in a study of the novel Woman in the Dunes and its film adaptation. The critical discourse that surrounded women artists of the late twentieth-century - the Super Girls of Art - i
This volume comprises of papers by analysts and members of the Freudian School of Melbourne. It addresses the question what difference Lacan's teaching has made in the field of psychoanalysis. The paper demonstrates the possibility of moving from the origin to originality in an antipodean place.