Search results for 'Aesthetics, Japanese' (try it on Scholar)

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  1.  31
    Michael F. Marra (ed.) (2002). Japanese Hermeneutics: Current Debates on Aesthetics and Interpretation. University of Hawai'i Press.
    The essays in the final section of the book, "Japan's Literary Hermeneutics, " rethink the notion of "Japanese literature" in light of recent findings on the ...
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  2.  5
    Kenji Ekuan & David B. Stewart (1999). The Aesthetics of the Japanese Lunch-Box. Journal of Aesthetics and Art Criticism 57 (4):485-486.
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  3. Michael F. Marra (2001). A History of Modern Japanese Aesthetics. Monograph Collection (Matt - Pseudo).
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  4. Michael F. Marra (1999). Modern Japanese Aesthetics a Reader. Monograph Collection (Matt - Pseudo).
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  5. Sonja Servomaa (2007). Beauty in the Pine: Creative Expressiveness of the Pine in Japanese Aesthetics. Yliopistopaino, Helsinki Univ. Press.
     
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  6. Michael F. Marra (1991). The Aesthetics of Discontent Politics and Reclusion in Medieval Japanese Literature. Monograph Collection (Matt - Pseudo).
     
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  7.  17
    Rea Amit (2012). On the Structure of Contemporary Japanese Aesthetics. Philosophy East and West 62 (2):174-185.
    The jargon of Japanese art criticism has always had an abundance of unique terms, categories, and concepts. This is not only true when discussing traditional Japan, since there are just as many new terms today as there were in the past. Some of the new terms have developed or evolved from old ones, while others have appeared with no seeming connection to any traditional tendency. Yet, only a few of these terms can be considered for the meta-level discussion of (...)
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  8. Steve Odin (2016). Tragic Beauty in Whitehead and Japanese Aesthetics. Lexington Books.
    This book examines Alfred North Whitehead’s process aesthetics focusing especially on two categories, including the penumbral beauty of darkness and the tragic beauty of perishability, while further establishing parallels with the Japanese sense of evanescent beauty as yûgen and aware. It clarifies how both Whitehead and Japanese tradition develop an aesthetics of beauty as perishability culminating in a religio-aesthetic vision of tragic beauty and its reconciliation in the supreme ecstasy of peace.
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  9. Robert Wilkinson (2012). Focillon, Bergson and Buddhist Aesthetics : A Point in Focillon's Reception of Japanese Art. Contrastes: Revista Interdisciplinar de Filosofía 17:275-288.
    This essay focuses on a point in Henri Focillon's interpretation of the aesthetics of Japanese art. Focillon fastens very precisely on a deep difference which exists in the understanding of the idea of aesthetic contemplation in the Western and Eastern traditions. Western traditional analyses of contemplation presuppose and embody assumptions about the ontologicalultimacy of individuals that are absent from Eastern traditions in which the ultimate is conceived of as nothingness. In particular, the idea that the absolute is fully manifested (...)
     
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  10. Makoto Ueda (1961). Zeami on Art: A Chapter for the History of Japanese Aesthetics. Journal of Aesthetics and Art Criticism 20 (1):73-79.
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  11. Yuriko Saito (1997). The Japanese Aesthetics of Imperfection and Insufficiency. Journal of Aesthetics and Art Criticism 55 (4):377-385.
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  12. Yuriko Saito (1999). Japanese Aesthetics of Packaging. Journal of Aesthetics and Art Criticism 57 (2):257-265.
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  13.  73
    Yuriko Saito (2007). The Moral Dimension of Japanese Aesthetics. Journal of Aesthetics and Art Criticism 65 (1):85–97.
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  14.  60
    James Kirwan (2001). Modern Japanese Aesthetics: A Reader Michele Marra. British Journal of Aesthetics 41 (3):347-349.
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  15. Yuriko Saito (1998). Japanese Aesthetics: Historical Overview. In Michael Kelly (ed.), Encyclopedia of Aesthetics. Oxford University Press 2--547.
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  16.  11
    Toshio Takéuchi (1965). Ohnishi's Aesthetics as a Japanese System. Journal of Aesthetics and Art Criticism 24 (1):7-18.
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  17.  35
    Steve Odin (1991). The Japanese Concept of Nature in Relation to the Environmental Ethics and Conservation Aesthetics of Aldo Leopold. Environmental Ethics 13 (4):345-360.
    I focus on the religio-aesthetic concept of nature in Japanese Buddhism as a valuable complement to environmental philosophy in the West and develop an explicit comparison of the Japanese Buddhist concept of nature and the ecological world view of Aldo Leopold. I discuss the profound current of ecological thought running through the Kegon, Tendai, Shingon, Zen, Pure Land, and Nichiren Buddhist traditions as weIl as modem Japanese philosophy as represented by Nishida Kitarö and Watsuji Tetsurö. In this (...)
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  18.  20
    Andrew T. Tsubaki (1971). Zeami and the Transition of the Concept of Yūgen: A Note on Japanese Aesthetics. Journal of Aesthetics and Art Criticism 30 (1):55-67.
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  19.  2
    Mara Miller (2015). TANSMAN, ALAN, The Aesthetics of Japanese Fascism, University of California Press, 2009, 368 Pp., $57.95 Cloth.; TANSMAN, ALAN, Ed., The Culture of Japanese Fascism, Duke University Press, 2009, 496 Pp., 24 Illus., $99.95 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (2):210-214.
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  20.  19
    Meter Amevans (1965). Aesthetics in Recent Japanese Novels. Journal of Aesthetics and Art Criticism 24 (1):27-36.
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  21.  4
    Van Meter Ames (1965). Aesthetics in Recent Japanese Novels. Journal of Aesthetics and Art Criticism 24 (1):27 - 36.
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  22.  2
    Bob Wilkinson (2012). Focillon, Bergson and Buddhist Aesthetics: A Point in Focillon's Reception of Japanese Art. Contrastes: Supplementos 17:275-288.
    Focillon fastens exactly on a deep difference in the understanding of aesthetic contemplation in the Western and Eastern traditions. Western analyses presuppose and embody assumptions about the ontological ultimacy of individuals that are absent from Eastern traditions in which the ultimate is conceived of as nothingness. Focillon grasped this, and his views are contrasted with those of Bergson, as well as being confirmed by his contemporary, the eminent Japanese philosopher Nishida.
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  23.  7
    A. Tansman & D. Cozy (2012). The Aesthetics of Japanese Fascism. British Journal of Aesthetics 52 (3):322-324.
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  24.  2
    Steve Odin (1985). The Penumbral Shadow: A Whiteheadian Perspective on the Yūgen Style of Art and Literature in Japanese Aesthetics. Japanese Journal of Religious Studies 12 (1):63-90.
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  25. Michele Marra (2001). Modern Japanese Aesthetics: A Reader. Journal of Aesthetics and Art Criticism 59 (1):113-115.
     
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  26. John Wallace (1992). Review Of: Michele Marra, The Aesthetics of Discontent: Politics and Reclusion in Medieval Japanese Literature. [REVIEW] Japanese Journal of Religious Studies 19 (1):85-90.
     
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  27.  91
    Mara Miller (2010). Japanese Aesthetics - Ch. 23. In Jay Garfield, William Edelglass & Koji Tanaka (eds.), Oxford Handbook of World Philosophy. Oxford University Press 317-333.
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  28. Michele Marra (1995). Japanese Aesthetics: The Construction of Meaning. Philosophy East and West 45 (3):367-386.
    Two major hermeneutical practices in the history of interpretation in premodern Japan are located. The first--a deconstructive practice followed by medieval thinkers (Dōgen) and poets (Fujiwara Shunzei and Fujiwara Teika)--interprets reality by deferring and dispersing it in its representations. The analogies of this methodology are highlighted with what the Italian philosopher Gianni Vattimo has called "pensiero debole" (weak thought). The latter recuperates the centrality of the concept of presence whose disclosure becomes the major task of the interpreter. Examples of this (...)
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  29. Antanas Andrijauskas (2003). Specific Features of Traditional Japanese Aesthetics. Dialogue and Universalism 13 (1-2):199-220.
     
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  30.  34
    Robert Wicks (2005). The Idealization of Contingency in Traditional Japanese Aesthetics. Journal of Aesthetic Education 39 (3):88-101.
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  31.  4
    Jeffrey M. Perl (2010). Chronicles of My Life: An American in the Heart of Japan; Japan Rising: The Iwakura Embassy to the USA and Europe, 1871–1873; Japan Through the Looking Glass; Everyday Aesthetics; The Culture of Japanese Fascism. [REVIEW] Common Knowledge 16 (3):563-565.
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  32.  8
    Steve Odin (1989). The Influence of Traditional Japanese Aesthetics on the Film Theory of Sergei Eisenstein. Journal of Aesthetic Education 23 (2):69.
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  33.  21
    Donald Keene (1969). Japanese Aesthetics. Philosophy East and West 19 (3):293-306.
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  34.  6
    Bradley Park (2005). Buddhism and Japanese Aesthetics. Philosophy East and West 55 (4).
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  35.  5
    Antanas Andrija Uskas (2005). Traditional Japanese Medieval Aesthetics: Comparative Studies. In Jurate Baranova (ed.), Contemporary Philosophical Discourse in Lithuania. Council for Research in Values and Philosophy 163.
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  36.  13
    Earle Ernst (1969). On Donald Keene's "Japanese Aesthetics". Philosophy East and West 19 (3):307-309.
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  37.  16
    Stephen C. Pepper (1969). On Donald Keene's "Japanese Aesthetics". Philosophy East and West 19 (3):323-326.
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  38.  14
    V. H. Viglielmo (1969). On Donald Keene's "Japanese Aesthetics". Philosophy East and West 19 (3):317-322.
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  39.  8
    Arlene M. Mayeda (1991). Whitehead and Japanese Aesthetics. The Harvard Review of Philosophy 1 (1):29-37.
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  40.  10
    Gary L. Ebersole (2005). Kamikaze, Cherry Blossoms, and Nationalisms: The Militarization of Aesthetics in Japanese History (Review). Philosophy East and West 55 (4):607-610.
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  41.  7
    Harold E. McCarthy (1969). On Donald Keene's "Japanese Aesthetics". Philosophy East and West 19 (3):310-316.
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  42. Mara Miller (forthcoming). Japanese Aesthetics and the Disruptions of Identity After the Atomic Bombings. Kritische Berichte. Zeitschrift für Kunst- Und Kulturwissenschaften:73--82.
     
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  43. Mara Miller (2012). Japanese Literary Aesthetics Today: Rewriting the Traditional in the Post-Atomic World. Apa Newsletter on Asian and Asian-American Philosophers and Philosophies 11 (2).
     
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  44. Graham Parkes (forthcoming). Japanese Aesthetics. Stanford Encyclopedia of Philosophy.
     
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  45. Steve Odin (2005). Artistic Detachment in Japan and the West: Psychic Distance in Comparative Aesthetics. Journal of Aesthetics and Art Criticism 63 (3):291-292.
     
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  46.  68
    Toshihiko Izutsu (1981). The Theory of Beauty in the Classical Aesthetics of Japan. Distributors for the U.S. And Canada, Kluwer Boston.
    ESSAY I THE AESTHETIC STRUCTURE OF WAKA In the tradition of Japanese poetry, there evolved several genres, of which the most representative are waka ...
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  47. Donald Keene (1988). The Pleasures of Japanese Literature. Monograph Collection (Matt - Pseudo).
     
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  48. Barbara Sandrisser (2009). Exploring Environmental Aesthetics in Japan. Peter Lang.
     
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  49. Mara Miller (2014). Agency, Identity, and Aesthetic Experience in Three Post-Atomic Japanese Narratives: Yasunari Kawabata’s The Sound of the Mountain, Rio Kushida’s Thread Hell, and the Anime Film Barefoot Gen. In Nguyen Minh (ed.), New Essays in Japanese Aesthetics. Lexington Books
    Since World War II Japanese artists have employed two seemingly contradictory ways of working, using aesthetics, materials, artistic methods technologies, and approaches that are either radically innovative and wildly experimental, or traditional/classical. Many other artists, however, in a move that seems paradoxical. have combined the two to explore the new themes of the post-atomic period. Three narrative works dealing with the effects of the World War II war effort and the atomic bombings that ended them, Yasunari Kawabata’s novel The (...)
     
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  50. Mara Miller & Koji Yamasaki (forthcoming). Ainu Aesthetics. In Minh Nguyen (ed.), New Studies in Japanese Aesthetics. Lexington Books
    Ainu artists were invited to make “replicas” of traditional Ainu arts held in an important museum collection and describe their choices, process and results. The resulting Ainu aesthetics challenges—and changes—our understanding of aesthetics and the philosophy of art, on four levels: descriptive aesthetics, categorical aesthetics (the categories through which the Ainu understand aesthetic value), implications of these aesthetics for a variety of human activities such as museum practice and daily life, and the implications of the first three for our broader (...)
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