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.