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).
Although frequently misunderstood as a homogenous nation, Japan is a land of tremendous linguistic, geographical, and cultural diversity. Readers can let Japan's literary masters be their guide--from the beauty of northern Hokkaido through the hustle and bustle of Tokyo to the many temples in Kyoto through Osaka and the coastline of the Sea of Japan--to a country that only the finest stories can reveal.
This annotated translation is the first systematic rendering into any Western language of the nine major treatises on the art of the Japanese No theater by Zeami Motokivo (1363-1443). Zeami, who transformed the No from a country entertainment into a vehicle for profound theatrical and philosophical experience, was a brilliant actor himself, and his treatises touch on every aspect of the theater of his time. His theories, mixing philosophical and practical insights, often seem strikingly contemporary. Since their discovery early in this century. these secret treatises have been considered among the most valuable and representative documents in the history of Japanese aesthetics. They discuss subjects from the art of the playwright to the reciprocal nature of the relationship between performer and audience.
This anthology is the first to survey the full range of modern Japanese drama and make available JapanÕs best and most representative twentieth- and early-twenty-first-century works in one volume. Divided into six chronological sections: ÒThe Age of Taisho DramaÓ; The Tsukiji Tsukiji Little Theater and Its AftermathÓ; ÒWartime and Postwar DramaÓ; ÒThe 1960s and Underground TheaterÓ; ÒThe 1980s and BeyondÓ; and ÒPopular Theater,Ó the collection opens with a comprehensive introduction to Meiji period drama and provides an informal yet complete history of twentieth-century Japanese theater for students, scholars, instructors, and dramatists. The collection features a mix of original and previously published translations of works, among them plays by such writers as Masamune Hakucho (The Couple Next Door), Enchi Fumiko (Restless Night in Late Spring), Abe Kobo (The Man Who Turned into a Stick), Morimoto Kaoru (A WomanÕs Life), Kara Juro (Two Women), Terayama Shuji (Poison Boy), Noda Hideki (Poems for Sale), and Mishima Yukio (The Sardine SellerÕs Net of Love). Leading translators include Donald Keene, J. Thomas Rimer, Mitsuyra Mori, M. Cody Poulton, John Gillespie, Mari Boyd, and Brian Powell. Each section features an introduction to the developments and character of the period, notes on the playsÕ productions, and photographs of their stage performances. The volume complements any course on modern Japanese literature and any study of modern drama in China, Korea, or other Asian or contemporary Western nation.
The fiction of Mori Ogai, written after the death of Emperor Meiji in 1912, secured his promiment place in modern Japanese literature. This collection of stories, set in the Tokugawa Period, provide a means for Ogai to deal with contemporary moral and philosophical values and themes.
Compiled in this volume is original material on Japanese arts and culture from the prehistoric era to the Meiji Restoration (1867). These sources, including many translated here for the first time, are placed in their historical context and outfitted with brief commentaries, allowing the reader to make connections to larger concepts and values found in Japanese culture. This book contains material on the visual and literary arts, as well as primary texts on topics not easily classified in Western categories, such as the martial and culinary arts, the art of tea, and flower arranging. More than sixty color and black-and-white illustrations enrich the collection and provide further insights into Japanese artistic and cultural values. Also included are a bibliography of English-language and Japanese sources and an extensive list of suggested further readings.
Research outside Japan on the history and significance of the Japanese visual arts since the beginning of the Meiji period (1868) has been, with the exception of writings on modern and contemporary woodblock prints, a relatively unexplored area of inquiry. In recent years, however, the subject has begun to attract wide interest. As is evident from this volume, this period of roughly a century and a half produced an outpouring of art created in a bewildering number of genres and spanning a wide range of aims and accomplishments. Since Meiji is the first sustained effort in English to discuss in any depth a time when Japan, eager to join in the larger cultural developments in Europe and the U.S., went through a visual revolution. Indeed, this study of the visual arts of the nineteenth and twentieth centuries suggests a fresh history of modern Japanese culture--one that until now has not been widely visible or thoroughly analyzed outside that country. In this extensive collection, which includes some 190 black-and-white and color reproductions, scholars from Japan, Europe, Australia, and America explore an impressive array of subjects: painting, sculpture, prints, fashion design, crafts, and gardens. The works discussed range from early Meiji attempts to create art that referenced Western styles to postwar and contemporary avant-garde experiments. There are, in addition, substantive investigations of the cultural and intellectual background that helped stimulate the creation of new and shifting art forms, including essays on the invention of a modern artistic vocabulary in the Japanese language and the history of art criticism in Japan, as well as an extensive account of the career and significance of perhaps the best-known Japanese figure concerned with the visual arts of his period, Okakura Tenshin (1862-1913), whose Book of Tea is still widely read today. Taken together, the essays in this volume allow readers to connect ideas and images, thus bringing to light larger trends in the Japanese visual arts that have made possible the vitality, range, and striking achievements created during this turbulent and lively period.
The literary writings of Mori Ōgai (1862-1922), one of the giant figures of the Meiji period, have become increasingly well known to readers of English through a number of recent translations of his novels and short stories. Ōgai was more than a writer of fiction, however. He has long been regarded in Japan as one of the most influential intellectual and artistic figures of his period, possessing a wide range of enthusiasms and concerns, many developed through his early European experiences. Not a Song Like Any Other attempts to reveal the full range of Ōgai’s creative endeavor, providing trenchant examples of his remarkable range, from dramatist and storyteller to poet and polemicist, all translated into English for the first time. The first of seven parts, “The Author Himself,” offers a variety of self portraits and other insights into Ōgai’s character through his essays—laconic, ironic, detached—written over the course of his career. “Mori Ōgai in Germany” reveals his responses to living in Germany in the 1880s and seeing for the first time how his country was being interpreted from the outside. It includes his celebrated and spirited defense of his country, originally published in a German newspaper. “Mori Ōgai and the World of Politics” relates his uneasy reactions to Japanese society at a later phase in his career. The fourth section provides some of the first information available in English concerning his lifelong interest in painting and other aspects of the visual arts in the Japan of his day. Ōgai’s theatrical experiments are briefly chronicled in Part 5. “Four Unusual Stories” offers new evidence of the range of the writer’s interests and ambitions. The final section includes some of the first translations of Ōgai’s poetry available in English. Contributors: Richard Bowring, Sarah Cox, Sanford Goldstein, Andrew Hall, Mikiko Hirayama, Helen Hopper, Marvin Marcus, Keiko McDonald, J. Thomas Rimer, Hiroaki Sato, William J. Tyler.
The philosopher's controversial link with Heidegger is explored by Jon Mark Mikkelsen in the final essay, which concludes that, although Heidegger's view of art is consistent, both historically and conceptually, with his political involvement with fascism, the same cannot be said of Kuki."
The preeminent Western authority on Japanese literature a presents a collection of personal essays and literary vignettes that offers a fresh and personal insight into his prolific career as a writer and translator, traveler and social observer.
