|
Showing 1 - 6 of
6 matches in All Departments
The present volume endeavors to make a contribution to contemporary
Whitehead studies by clarifying his axiological process
metaphysics, including his theory of values, concept of aesthetic
experience, and doctrine of beauty, along with his philosophy of
art, literature and poetry. Moreover, it establishes an east-west
dialogue focusing on how Alfred North Whitehead's process
aesthetics can be clarified by the traditional Japanese Buddhist
sense of evanescent beauty. As this east-west dialogue unfolds it
is shown that there are many striking points of convergence between
Whitehead's process aesthetics and the traditional Japanese sense
of beauty. However, the work especially focuses on two of
Whitehead's aesthetic categories, including the penumbral beauty of
darkness and the tragic beauty of perishability, while further
demonstrating parallels with the two Japanese aesthetic categories
of yugen and aware. It is clarified how both Whitehead and the
Japanese tradition have articulated a poetics of evanescence that
celebrates the transience of aesthetic experience and the
ephemerality of beauty. Finally it is argued that 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 or
nirvana.
This collection presents twenty-seven new essays in Japanese
aesthetics by leading experts in the field. Beginning with an
extended foreword by the renowned scholar and artist Stephen Addiss
and a comprehensive introduction that surveys the history of
Japanese aesthetics and the ways in which it is similar to and
different from Western aesthetics, this groundbreaking work brings
together a large variety of disciplinary perspectives-including
philosophy, literature, and cultural politics-to shed light on the
artistic and aesthetic traditions of Japan and the central themes
in Japanese art and aesthetics. Contributors explore topics from
the philosophical groundings for Japanese aesthetics and the
Japanese aesthetics of imperfection and insufficiency to the
Japanese love of and respect for nature and the paradoxical ability
of Japanese art and culture to absorb enormous amounts of foreign
influence and yet maintain its own unique identity. New Essays in
Japanese Aesthetics will appeal not only to a wide range of
humanities scholars but also to graduate and undergraduate students
of Japanese aesthetics, art, philosophy, literature, culture, and
civilization. Masterfully articulating the contributors'
Japanese-aesthetical concerns and their application to Japanese
arts (including literature, theater, film, drawing, painting,
calligraphy, ceramics, crafts, music, fashion, comics, cooking,
packaging, gardening, landscape architecture, flower arrangement,
the martial arts, and the tea ceremony), these engaging and
penetrating essays will also appeal to nonacademic professionals
and general audiences. This seminal work will be essential reading
for anyone interested in gaining a deeper understanding of Japanese
aesthetics.
This collection presents twenty-seven new essays in Japanese
aesthetics by leading experts in the field. Beginning with an
extended foreword by the renowned scholar and artist Stephen Addiss
and a comprehensive introduction that surveys the history of
Japanese aesthetics and the ways in which it is similar to and
different from Western aesthetics, this groundbreaking work brings
together a large variety of disciplinary perspectives—including
philosophy, literature, and cultural politics—to shed light on
the artistic and aesthetic traditions of Japan and the central
themes in Japanese art and aesthetics. Contributors explore topics
from the philosophical groundings for Japanese aesthetics and the
Japanese aesthetics of imperfection and insufficiency to the
Japanese love of and respect for nature and the paradoxical ability
of Japanese art and culture to absorb enormous amounts of foreign
influence and yet maintain its own unique identity. New Essays in
Japanese Aesthetics will appeal not only to a wide range of
humanities scholars but also to graduate and undergraduate students
of Japanese aesthetics, art, philosophy, literature, culture, and
civilization. Masterfully articulating the contributors’
Japanese-aesthetical concerns and their application to Japanese
arts (including literature, theater, film, drawing, painting,
calligraphy, ceramics, crafts, music, fashion, comics, cooking,
packaging, gardening, landscape architecture, flower arrangement,
the martial arts, and the tea ceremony), these engaging and
penetrating essays will also appeal to nonacademic professionals
and general audiences. This seminal work will be essential reading
for anyone interested in gaining a deeper understanding of Japanese
aesthetics.
The present volume endeavors to make a contribution to contemporary
Whitehead studies by clarifying his axiological process
metaphysics, including his theory of values, concept of aesthetic
experience, and doctrine of beauty, along with his philosophy of
art, literature and poetry. Moreover, it establishes an east-west
dialogue focusing on how Alfred North Whitehead's process
aesthetics can be clarified by the traditional Japanese Buddhist
sense of evanescent beauty. As this east-west dialogue unfolds it
is shown that there are many striking points of convergence between
Whitehead's process aesthetics and the traditional Japanese sense
of beauty. However, the work especially focuses on two of
Whitehead's aesthetic categories, including the penumbral beauty of
darkness and the tragic beauty of perishability, while further
demonstrating parallels with the two Japanese aesthetic categories
of yugen and aware. It is clarified how both Whitehead and the
Japanese tradition have articulated a poetics of evanescence that
celebrates the transience of aesthetic experience and the
ephemerality of beauty. Finally it is argued that 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 or
nirvana.
Artistic Detachment in Japan and the West takes up the notion of
artistic detachment, or psychic distance, as an intercultural motif
for East-West comparative aesthetics. The work begins with an
overview of aesthetic theory in the West from the
eighteenth-century empiricists to contemporary aesthetics and
concludes with a survey of various critiques of psychic distance.
Throughout, the author takes a highly innovative approach by
juxtaposing Western aesthetic theory against Eastern (primarily
Japanese) aesthetic theory. Weaving between cultures and time
periods, the author focuses on a remarkably wide range of theories:
in the West, the Kantian notion of disinterested contemplation,
Heidegger's Gelassenheit, semiotics, and pragmatism; in Japan,
Zeami's notion of riken no ken, the Kyoto School's intepretation of
nothingness, D. T. Suzuki's analysis of the function of no-mind,
and the writings of Kuki Shuzo on Buddhist detachment. "Portrait of
the artist" fiction by such writers as Henry James, James Joyce,
Mori Ogai, and Natsume Soseki demonstrates how the main theme of
detachment is expressed in literary traditions. The role of
sympathy or pragmatism in relation to disinterest is examined,
suggesting conflicts within or challenges to the notion of
detachment. Researchers and students in Eastern and Western areas
of study, including philosophers and religionists, as well as
literary and cultural critics, will deem this work an invaluable
contribution to cross-cultural philosophy and literary studies.
|
|