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by Michael F. Marra
It introduces readers through lucid and readable translations to works on the philosophy of art written by major Japanese thinkers from the late nineteenth century to the present. Selected from a variety of sources (monographs.
It introduces readers through lucid and readable translations to works on the philosophy of art written by major Japanese thinkers from the late nineteenth century to the present. It introduces readers through lucid and readable translations to works on the philosophy of art written by major Japanese thinkers from the late nineteenth century to the present.
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Modern Japanese aesthetics : a reader 1 Michele Marra. p. cm. Includes bibliographical references and index. Unless the notion of aesthetics is My interest in issues related to Japanese aesthetics and hermeneutics subjected to genealogical scrutiny, we will continue to use the word "aes- would not have evolved without the guidance of my teachers of Japanese thetics" in the ambiguous sense of something that always existed out there literature. Without their pioneering efforts in making philosophy relevant and was naturally visible to everybody-for example, the "aesthetics of to the field ofJapanese literature, in fact, this book would not exist.
Similar books and articles. Modern Japanese Aesthetics a Reader. Marra - 1999. Marra (e. - 2002 - University of Hawai'i Press. Modern Japanese Aesthetics and the Neo-Kantians. Japanese Hermeneutics: Current Debates on Aesthetics and Interpretation. Alejandro Bárcenas - 2009 - In Raquel Bouso James W. Heisig (e., Frontiers of Japanese Philosophy 6: Confluences and Cross-Currents. Nanzan Institute for Religion and Culture. Japanese Aesthetics and Culture a Reader. Nancy G. Hume - 1995. The Aesthetics of the Japanese Lunch-Box
Book by Michael F.
Book by Michael F. 16. ‘Playing withy Japanese Songs: Politics or Pleasure?,’ in Michael F. Marra, Seasons and Landscapes in Japanese Poetry: An Introduction to Haiku and Waka (Lewinston: The Edwin Mellen Press, 2008), pp. 1–24. The literary, artistic, religious, and social movements of discreet temporal segments were all subsumed under categories which found their systematization in the West in the English translation of a fragment of the massive history of literary interpretation by the Japanese literary historian Hisamatsu Sen’ichi.
A History of Modern Japanese Aesthetics.
July 2002 · The Journal of Religion. January 2012 · Journal of the Vacuum Society of Japan.
Marra, Michael . ed. Tomasi, Massimiliano. Rhetoric in Modern Japan: Western Influences on the Development of Narrative and Oratorical Style. Honolulu: University of Hawai’i Press, 2001. Modern Japanese Aesthetics: A Reader. Honolulu: University of Hawai’i Press, 2002. Honolulu: University of Hawai’i Press, 2004.
This collection of essays constitutes the first history of modern Japanese aesthetics in any language. It introduces readers through lucid and readable translations to works on the philosophy of art written by major Japanese thinkers from the late nineteenth century to the present. Selected from a variety of sources (monographs, journals, catalogues), the essays cover topics related to the study of beauty in art and nature.
The translations are organized into four parts. The first, "The Introduction of Aesthetics," traces the formation of notions of "beauty," "culture," and "art" in Japan. It includes discussion of the creation of the museum in Japan and the frenetic efforts of Nishi Amane, Okakura Tenshin, Ernest Fenollosa, and Mori Ogai to introduce German, British, and French aesthetic thought to the Japanese. This is followed by three sections that examine the transformation of the aesthetic field into an academic discipline that flourished at three major Japanese universities.
"Aesthetics at Waseda University" begins with an essay on the spiritualism and idealism of Onishi Hajime and continues with essays on the impact of German Lebensphilosophie ("philosophy of life") on Shimamura Hogetsu and Takayama Chogyu, and work by the major Waseda aesthetician of the twentieth century, Aizu Yaichi. Thinkers of the Tokyo School adopted a "scientific" method in the study of art theory. Part 3, "Aesthetics at the University of Tokyo," focuses on the ideas of Otsuka Yasuji (holder of the world’s first Chair of Aesthetics), Onishi Yoshinori, Watsuji Tetsuro, Abe Jiro, Takeuchi Toshio, and Imamichi Tomonobu. The section concludes with a look at the contemporary philosopher Sakabe Megumi. The last section, "Aesthetics at the University of Kyoto," includes essays on Nakagawa Shigeki and Fukada Yasukazu, pioneers in the field of aesthetics, and on the philosophy of art of the "Kyoto School," which was deeply inspired by the thought of Nishida Kitaro. Finally the work of Kuki Shuzo, an influential teacher of Western philosophy at the University of Kyoto, is examined.
A History of Modern Japanese Aesthetics is a companion volume to Modern Japanese Aesthetics: A Reader (UH Press, 1999).