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Author: Michael Gardiner
Publisher: Routledge
ISBN: 1351757466
Category : Literary Criticism
Languages : en
Pages : 270
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Book Description
This book describes firstly a Japanese modernity which is readable not only as a modernising, but also as a Britishing, and secondly modernist attempts to overhaul this British universalism in some well-known and some less-known Japanese texts. From the mid-nineteenth century, and particularly as hastened by the spectre of China in the First Opium War, Japan’s modernity was bound up with a convergence with British Newtonian cosmology, something underscored by the British presence in Meiji Japan and the British education of key Meiji state-makers. Moreover the thinking behind Britain’s own unification in the long eighteenth century, particularly the Scottish Enlightenment, is echoed strikingly faithfully in the 1860s-70s work of Fukuzawa Yukichi, Nakamura Masanao, and other writers in the ‘Japanese Enlightenment’. However, from around the end of the Meiji era, we can see a concerted and pointed response to this British universalism, its historiography, its basis in the sovereign individual subject, and its spatial mapping of the world. Elements of this response can be read in texts including Natsume Sōseki’s Kokoro, Watsuji Tetsurō’s Fūdo (Climate and Culture), Tanizaki Jun’ichirō’s In’ei Raisan (In Praise of Shadows), Kawabata Yasunari’s Yukiguni (Snow Country), and various work of the mid-period Kyoto School. Rarely understood in terms of its British specificity, this response should have something to say to modernist studies more generally, since it aimed at a pluralism and de-universalisation that was difficult for mainstream British modernism itself. Indeed the strength of this de-universalisation may be precisely why these ‘native’ Japanese modernist tendencies have not much been accepted as modernism within the Anglophone academy, despite this field’s apparent widening of its ground in the twenty-first century.
Author: Michael Gardiner
Publisher: Routledge
ISBN: 1351757466
Category : Literary Criticism
Languages : en
Pages : 270
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Book Description
This book describes firstly a Japanese modernity which is readable not only as a modernising, but also as a Britishing, and secondly modernist attempts to overhaul this British universalism in some well-known and some less-known Japanese texts. From the mid-nineteenth century, and particularly as hastened by the spectre of China in the First Opium War, Japan’s modernity was bound up with a convergence with British Newtonian cosmology, something underscored by the British presence in Meiji Japan and the British education of key Meiji state-makers. Moreover the thinking behind Britain’s own unification in the long eighteenth century, particularly the Scottish Enlightenment, is echoed strikingly faithfully in the 1860s-70s work of Fukuzawa Yukichi, Nakamura Masanao, and other writers in the ‘Japanese Enlightenment’. However, from around the end of the Meiji era, we can see a concerted and pointed response to this British universalism, its historiography, its basis in the sovereign individual subject, and its spatial mapping of the world. Elements of this response can be read in texts including Natsume Sōseki’s Kokoro, Watsuji Tetsurō’s Fūdo (Climate and Culture), Tanizaki Jun’ichirō’s In’ei Raisan (In Praise of Shadows), Kawabata Yasunari’s Yukiguni (Snow Country), and various work of the mid-period Kyoto School. Rarely understood in terms of its British specificity, this response should have something to say to modernist studies more generally, since it aimed at a pluralism and de-universalisation that was difficult for mainstream British modernism itself. Indeed the strength of this de-universalisation may be precisely why these ‘native’ Japanese modernist tendencies have not much been accepted as modernism within the Anglophone academy, despite this field’s apparent widening of its ground in the twenty-first century.
Author: MICHAEL. GARDINER
Publisher: Routledge
ISBN: 9781032089119
Category :
Languages : en
Pages : 166
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Book Description
This book describes firstly a Japanese modernity which is readable not only as a modernising, but also as a Britishing, and secondly modernist attempts to overhaul this British universalism in some well-known and some less-known Japanese texts. From the mid-nineteenth century, and particularly as hastened by the spectre of China in the First Opium War, Japan's modernity was bound up with a convergence with British Newtonian cosmology, something underscored by the British presence in Meiji Japan and the British education of key Meiji state-makers. Moreover the thinking behind Britain's own unification in the long eighteenth century, particularly the Scottish Enlightenment, is echoed strikingly faithfully in the 1860s-70s work of Fukuzawa Yukichi, Nakamura Masanao, and other writers in the 'Japanese Enlightenment'. However, from around the end of the Meiji era, we can see a concerted and pointed response to this British universalism, its historiography, its basis in the sovereign individual subject, and its spatial mapping of the world. Elements of this response can be read in texts including Natsume Sōseki's Kokoro, Watsuji Tetsurō's Fūdo (Climate and Culture), Tanizaki Jun'ichirō's In'ei Raisan (In Praise of Shadows), Kawabata Yasunari's Yukiguni (Snow Country), and various work of the mid-period Kyoto School. Rarely understood in terms of its British specificity, this response should have something to say to modernist studies more generally, since it aimed at a pluralism and de-universalisation that was difficult for mainstream British modernism itself. Indeed the strength of this de-universalisation may be precisely why these 'native' Japanese modernist tendencies have not much been accepted as modernism within the Anglophone academy, despite this field's apparent widening of its ground in the twenty-first century.
Author: Yoshimi Takeuchi
Publisher: Columbia University Press
ISBN: 9780231133272
Category : History
Languages : en
Pages : 204
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Book Description
Yoshimi questioned the very nature of thought, arguing that thinking is less a subjective act than an opening to alterity. His works were central in drawing Japanese attention to the problems inherent in Western colonialism & to the cultural importance of Asia.
Author: Ai Maeda
Publisher: Duke University Press
ISBN: 9780822333463
Category : Literary Criticism
Languages : en
Pages : 412
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Book Description
Maeda Ai was a prominent literary critic and an influential public intellectual in late-twentieth-century Japan. Text and the City is the first book of his work to appear in English. A literary and cultural critic deeply engaged with European critical thought, Maeda was a brilliant, insightful theorist of modernity for whom the city was the embodiment of modern life. He conducted a far-reaching inquiry into changing conceptions of space, temporality, and visual practices as they gave shape to the city and its inhabitants. James A. Fujii has assembled a selection of Maeda’s essays that question and explore the contours of Japanese modernity and resonate with the concerns of literary and cultural studies today. Maeda remapped the study of modern Japanese literature and culture in the 1970s and 1980s, helping to generate widespread interest in studying mass culture on the one hand and marginalized sectors of modern Japanese society on the other. These essays reveal the broad range of Maeda’s cultural criticism. Among the topics considered are Tokyo; utopias; prisons; visual media technologies including panoramas and film; the popular culture of the Edo, Meiji, and contemporary periods; maps; women’s magazines; and women writers. Integrally related to these discussions are Maeda’s readings of works of Japanese literature including Matsubara Iwagoro’s In Darkest Tokyo, Nagai Kafu’s The Fox, Higuchi Ichiyo’s Growing Up, Kawabata Yasunari’s The Crimson Gang of Asakusa, and Narushima Ryuhoku’s short story “Useless Man.” Illuminating the infinitely rich phenomena of modernity, these essays are full of innovative, unexpected connections between cultural productions and urban life, between the text and the city.
Author: Stephen Vlastos
Publisher: Univ of California Press
ISBN: 9780520206373
Category : History
Languages : en
Pages : 362
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Book Description
This collection of essays challenges the notion that Japan's present cultural identity is the simple legacy of its pre-modern and insular past. Scholars examine "age-old" Japanese cultural practices and show these to be largely creations of the modern era.
Author: Jeffrey Mather
Publisher: Routledge
ISBN: 1000727483
Category : Literary Criticism
Languages : en
Pages : 176
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Book Description
From the travel writing of the eccentric plant collector and Reginald Farrer, to Emily Hahn’s insider depictions of bohemian life in semi-colonial Shanghai, to Ezra Pound’s mediated ‘journeys’ to Southwest China via the explorer Joseph Rock – Anglo-American representations of China during the first half of the twentieth century were often unconventional in terms of style, form, and content. By examining a range of texts that were written in the flux of travel – including poems, novels, autobiographies – this study argues that the tumultuous social and political context of China’s Republican Period (1912-49) was a key setting for conceptualizing cultural modernity in global and transnational terms. In contrast with accounts that examine China’s influence on Western modernism through language, translation, and discourse, the book recovers a materialist engagement with landscapes, objects, and things as transcribed through travel, ethnographic encounter, and embodied experience. The book is organized by three themes which suggest formal strategies through which notions cultural modernity were explored or contested: borderlands, cosmopolitan performances, and mobile poetics. As it draws from archival sources in order to develop these themes, this study offers a place-based historical perspective on China’s changing status in Western literary cultures.
Author: Graham Wolfe
Publisher: Routledge
ISBN: 1000124363
Category : Literary Collections
Languages : en
Pages : 208
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Book Description
This volume posits and explores an intermedial genre called theatre-fiction, understood in its broadest sense as referring to novels and stories that engage in concrete and sustained ways with theatre. Though theatre has made star appearances in dozens of literary fictions, including many by modern history’s most influential authors, no full-length study has dedicated itself specifically to theatre-fiction—in fact there has not even been a recognized name for the phenomenon. Focusing on Britain, where most of the world’s theatre-novels have been produced, and commencing in the late-nineteenth century, when theatre increasingly took on major roles in novels, Theatre-Fiction in Britain argues for the benefits of considering these works in relation to each other, to a history of development, and to the theatre of their time. New modes of intermedial analysis are modelled through close studies of Henry James, Somerset Maugham, Virginia Woolf, J. B. Priestley, Ngaio Marsh, Angela Carter, and Doris Lessing, all of whom were deeply involved in the theatre-world as playwrights, directors, reviewers, and theorists. Drawing as much on theatre scholarship as on literary theory, Theatre-Fiction in Britain presents theatre-fiction as one of the past century’s most vital means of exploring, reconsidering, and bringing forth theatre’s potentials.
Author: Matthew Hayward
Publisher: Routledge
ISBN: 1000576612
Category : Literary Criticism
Languages : en
Pages : 421
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Book Description
For so long figured in European discourses as the antithesis of modernity, the Pacific Islands have remained all but absent from the modernist studies’ critical map. Yet, as the chapters of New Oceania: Modernisms and Modernities in the Pacific collectively show, Pacific artists and writers have been as creatively engaged in the construction and representation of modernity as any of their global counterparts. In the second half of the twentieth century, driving a still ongoing process of decolonisation, Pacific Islanders forged an extraordinary cultural and artistic movement. Integrating Indigenous aesthetics, forms, and techniques with a range of other influences — realist novels, avant-garde poetry, anti-colonial discourse, biblical verse, Indian mythology, American television, Bollywood film — Pacific artists developed new creative registers to express the complexity of the region’s transnational modernities. New Oceania presents the first sustained account of the modernist dimensions of this period, while presenting timely reflections on the ideological and methodological limitations of the global modernism rubric. Breaking new critical ground, it brings together scholars from a range of backgrounds to demonstrate the relevance of modernism for Pacific scholars, and the relevance of Pacific literature for modernist scholars.
Author: Andrés Pérez-Simón
Publisher: Routledge
ISBN: 1000766578
Category : Literary Criticism
Languages : en
Pages : 162
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Book Description
Baroque Lorca: An Archaist Playwright for the New Stage defines Federico García Lorca’s trajectory in the theater as a lifelong search for an audience. It studies a wide range of dramatic writings that Lorca created for the theater, in direct response to the conditions of his contemporary industry, and situates the theory and praxis of his theatrical reform in dialogue with other modernist renovators of the stage. This book makes special emphasis on how Lorca engaged with the tradition of Spanish Baroque, in particular with Cervantes and Calderón, to break away from the conventions of the illusionist stage. The five chapters of the book analyze Lorca’s different attempts to change the dynamics of the Spanish stage from 1920 to his assassination in 1936: His initial incursions in the arenas of symbolist and historical drama (The Butterfly’s Evil Spell, Mariana Pineda); his interest in puppetry (The Billy-Club Puppets and In the Frame of Don Cristóbal) and the two ‘human’ farces The Shoemaker’s Prodigious Wife and The Love of Don Perlimplín and Belisa in the Garden; the central piece in his project of ‘impossible’ theater (The Public); his most explicitly political play, one that takes the violence to the spectators’ seats (The Dream of Life); and his three plays adopting, an altering, the contemporary formula of ‘rural drama’ (Blood Wedding, Yerma and The House of Bernarda Alba). Chapter 5 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.
Author: Matthew Vechinski
Publisher: Routledge
ISBN: 1000734013
Category : Literary Criticism
Languages : en
Pages : 206
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Book Description
Twentieth-Century American Fiction in Circulation is a study of the twentieth-century linked story collection in the United States. It emphasizes how the fictional form grew out of an established publishing model—individual stories printed in magazines, revised and expanded into single-author volumes that resemble novels—which creates multiple contexts for the reception of this literature. By acknowledging the prior appearance of stories in periodicals, the book examines textual variants and the role of editorial emendation, drawing on archival records (drafts and correspondence) whenever possible. It also considers how the pages of magazines create a context for the reception of short stories that differs significantly from that of the single-author book. The chapters explore how short stories, appearing separately then linked together, excel at representing the discontinuity of modern American life; convey the multifaceted identity of a character across episodes; mimic the qualities of oral storytelling; and illustrate struggles of belonging within and across communities. The book explains the appearance and prevalence of these narrative strategies at particular cultural moments in the evolution of the American magazine, examining a range of periodicals such as The Masses, Saturday Evening Post, Partisan Review, Esquire, and Ladies’ Home Journal. The primary linked story collections studied are Sherwood Anderson’s Winesburg, Ohio (1919), William Faulkner’s The Unvanquished (1938), Mary McCarthy’s The Company She Keeps (1942), John Barth’s Lost in the Funhouse (1968), and Amy Tan’s The Joy Luck Club (1988).
