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Explores how spiritual values are learned and mind and body developed through the practice of the Japanese arts.
This volume examines the motives behind rejections of beauty often found within contemporary art practice, where much critically acclaimed art is deliberately ugly and alienating. It reflects on the nature and value of beauty, asking whether beauty still has a future in art and what role it can play in our lives generally. The volume discusses the possible “end of art,” what art is, and the relation between art and beauty beyond their historically Western horizons to include perspectives from Asia. The individual chapters address a number of interrelated issues, including: art, beauty and the sacred; beauty as a source of joy and consolation; beauty as a bridge between the natural and the human; beauty and the human form; the role of curatorial practice in defining art; order and creativity; and the distinction between art and craft. The volume offers a valuable addition to cross-cultural dialogue and, in particular, to the sparse literature on art and beauty in comparative context. It demonstrates the relevance of the rich tradition of Asian aesthetics and the vibrant practices of contemporary art in Asia to Western discussions about the future of art and the role of beauty.
This collection begins with an engaging historical overview of Japanese aesthetics and offers contemporary multidisciplinary and interdisciplinary perspectives on the artistic and aesthetic traditions of Japan and the central themes in Japanese art and aesthetics.
An accessible discussion of the thought of key figures of the Kyoto School of Japanese philosophy. This book provides a much-needed introduction to the Kyoto School of Japanese philosophy. Robert E. Carter focuses on four influential Japanese philosophers: the three most important members of the Kyoto School (Nishida Kitarō, Tanabe Hajime, and Nishitani Keiji), and a fourth (Watsuji Tetsurō), who was, at most, an associate member of the school. Each of these thinkers wrestled systematically with the Eastern idea of “nothingness,” albeit from very different perspectives. Many Western scholars, students, and serious general readers are intrigued by this school of thought, which reflects Japan’s engagement with the West. A number of works by various thinkers associated with the Kyoto School are now available in English, but these works are often difficult to grasp for those not already well-versed in the philosophical and historical context. Carter’s book provides an accessible yet substantive introduction to the school andoffers an East-West dialogue that enriches our understanding of Japanese thought while also shedding light on our own assumptions, habits of thought, and prejudices.
Japanese Hermeneutics provides a forum for the most current international debates on the role played by interpretative models in the articulation of cultural discourses on Japan. It presents the thinking of esteemed Western philosophers, aestheticians, and art and literary historians, and introduces to English-reading audiences some of Japan's most distinguished scholars, whose work has received limited or no exposure in the United States. In the first part, Hermeneutics and Japan, contributors examine the difficulties inherent in articulating otherness without falling into the trap of essentialization and while relying on Western epistemology for explanation and interpretation. In the second part, Japan's Aesthetic Hermeneutics, they explore the role of aesthetics in shaping discourses on art and nature in Japan. The essays in the final section of the book, Japan's Literary Hermeneutics, rethink the notion of Japanese literature in light of recent findings on the ideological implications of canon formations and transformations within Japan's prominent literary circles.
This book is an inquiry into ki-energy, its role within Eastern mind-body theory, and its implications for our contemporary Western understanding of the body. Yuasa examines the concept of ki-energy as it has been used in such areas as acupuncture, Buddhist and Taoist meditation, and the martial arts. To explain the achievement of mind-body oneness in these traditions he offers an innovative schematization of the lived body. His approach is interdisciplinary and cross-cultural, offering insights into Western philosophy, religion, medical science, depth psychology, parapsychology, theater, and physical education. To substantiate the relationship that ki-energy forms between the human body and its environment, Yuasa introduces contemporary scientific research on ki-energy in China and Japan, as well as evidence from acupuncture medicine and from the experience of meditators and martial arts practitioners. This evidence requires not only a rethinking of the living human body and of the mind-body and mind-matter relation, but also calls into question the adequacy of the existing scientific paradigm. Yuasa calls for an epistemological critique of modern science and explores the issue of the relation of teleology to science.
Providing a distillation of knowledge in the various disciplines of arts education (dance, drama, music, literature and poetry and visual arts), this essential handbook synthesizes existing research literature, reflects on the past, and contributes to shaping the future of the respective and integrated disciplines of arts education. While research can at times seem distant from practice, the Handbook aims to maintain connection with the live practice of art and of education, capturing the vibrancy and best thinking in the field of theory and practice. The Handbook is organized into 13 sections, each focusing on a major area or issue in arts education research.

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