Collected Writings Of J Thomas Rimer

Widely acknowledged as the doyen of twentieth-century Japanese literature, fine art and the performing arts, as well as being renowned for his translations of Zeami and Mori Ogai. Collected Writings of J.Thomas Rimer brings together in whole or in part much of Rimer's prodigious output in these fields over the past forty years, including some of his milestone (fully illustrated) essays on Japanese Art, especially 'Tokyo in Paris/ Paris in Tokyo' (Japan Foundation, 1987).

This collection of essays represents the first attempt in this country to examine systematically the nature and development of modern Japanese self-consciousness as expressed through culture. The essays reveal eloquently the extent to which important aspects of Japanese intellectual life in the early twentieth century were inspired by European models of cultural criticism, ranging from Kant and Hegel to Nietzsche, Marx, Durkheim, and Bergson. Implicitly comparative, this collection raises the question whether "late" industrialization and related processes call forth cultural convergence (as between "East" and "West") or whether a living culture transforms these processes and makes one nation's experience significantly different from that of others. Together with the editor, the contributors include Brett de Bary, Thomas W. Burkman, H. D. Harootunian, Germaine A. Hoston, Nozomu Kawamura, Stephen W. Kohl, William R. LaFleur, Hajimu Nakano, Donald Roden, Miriam Silverberg, Eugene Soviak, Jackie Stone, Shuji Takashina, and Makoto Ueda. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Investigating more than 70 key concepts relating to the performing arts in more than six non-European languages, this volume provides a groundbreaking research tool and one-of-a-kind reference source for theatre, performance and dance studies worldwide. The Companion features in-depth explorations of and expert introductions to a select number of performance-related key concepts in Arabic, Chinese, Japanese, Korean, Yorùbá as well as the Indian languages Sanskrit, Hindi and Tamil. Key concepts—such as Furǧa فرجة in Arabic, for example, or Jiadingxing 假定性 in Chinese, Gei 芸 in Japanese, Ìparadà in Yorùbá and Imyeon 이면 in Korean—that defy easy translation from one language to another (and especially into English as the world’s lingua franca) and that reflect culturally specific ways of thinking and talking about the performing arts are thoroughly examined in in-depth articles. Written by more than 60 distinguished scholars from around the globe, the articles describe in detail each concept’s dynamic history, its flexible scope of meaning and current range of usage. The Companion also includes extensive introductions to each language section, in which internationally renowned experts explain how the presented key concepts are situated within, and are constitutive of, distinct and dynamic epistemic systems that have different yet always interlinked histories and orientations. Offers a fascinating insight into the unique histories, characteristics, and orientations of linguistically and culturally distinct epistemic systems related to the performative arts Contains extensive cross-references and bibliographies An invaluable research tool and one-of-a-kind reference source for scholars and students worldwide and across the humanities, especially in the fields of theatre, performance, dance, translation, area and cultural studies An accessible handbook for everybody interested in performance cultures and performance-related knowledge systems existing in the world today. This volume provides an invaluable research tool and one-of-a-kind reference source for scholars and students worldwide and across the humanities, especially in the fields of theatre, performance, dance, translation and area studies, history (of science and the humanities) and cultural studies.

The complex and coherent development of Japanese art during the course of the nineteenth century was inadvertently disrupted by a political event: the Meiji Restoration of 1868. Scholars of both the preceding Edo (1615–1868) and the succeeding Meiji (1868–1912) eras have shunned the decades bordering this arbitrary divide, thus creating an art-historical void that the former view as a period of waning technical and creative inventiveness and the latter as one threatened by Meiji reforms and indiscriminate westernization and modernization. Challenging Past and Present, to the contrary, demonstrates that the period 1840–1890, as seen progressively rather than retrospectively, experienced a dramatic transformation in the visual arts, which in turn made possible the creative achievements of the twentieth century. The first group of chapters takes as its theme the diverse cultural currents of the transitional period, particularly as they applied to art.The second section deals with the inconsistent yet determinedly pragmatic courses pursed by artists, entrepreneurs, and patrons to achieve a secure footing in the uncertain terrain of early Meiji. Further chapters look at how painters and sculptors sought to absorb and integrate foreign influences and reinterpret their own stylistic mediums.

The volume opens with a detailed autobiographical sketch of the author's original 'meeting with Japan', which began in 1961after taking up a post at ANU, Canberra (the result of a successful response to an advert in the Manchester Guardian). After twenty-one years in Australia, Arthur Stockwin moved back to the UK to take the chair of the then recently-established Nissan Institute of Japanese Studies. He was to be in post there also for twenty one years, his retirement coinciding with publication of his Dictionary of the Modern Politics of Japan (Routledge, 2003).

Originally a student of Meiji Japan, Gordon Daniels is widely known for his work on the Pacific War and the Occupation of Japan, with particular regard to the world of communications in film and propaganda as well as Japanese sport. He has also been closely involved with the post-war era of international relations and Japan, as well as studies in Japanese history and historiography. In the 1980s he made significant contributions in reporting on the scope and development of Japanese Studies in Britain. His most recent work has been as joint editor (and contributor) with Chushichi Tsuzuki of Social and Cultural Perspectives - the fifth of the five-volume series on the history of Anglo-Japanese Relations (Palgrave, 2002).