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E-grāmata: Imitation and Creativity in Japanese Arts: From Kishida Ryusei to Miyazaki Hayao

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The idea that Japanese art is produced through rote copy and imitation is an eighteenth-century colonial construction, with roots in Romantic ideals of originality. Offering a much-needed corrective to this critique, Michael Lucken demonstrates the distinct character of Japanese mimesis and its dynamic impact on global culture, showing through several twentieth-century masterpieces the generative and regenerative power of Japanese creativity.



The idea that Japanese art is produced through rote copy and imitation is an eighteenth-century colonial construction, with roots in Romantic ideals of originality. Offering a much-needed corrective to this critique, Michael Lucken demonstrates the distinct character of Japanese mimesis and its dynamic impact on global culture, showing through several twentieth-century masterpieces the generative and regenerative power of Japanese creativity.

Choosing a representative work from each of four modern genres--painting, film, photography, and animation--Lucken portrays the range of strategies that Japanese artists use to re-present contemporary influences. He examines Kishida Ryusei's portraits of Reiko (1914-1929), Kurosawa Akira's Ikiru (1952), Araki Nobuyoshi's photographic novelSentimental Journey--Winter (1991), and Miyazaki Hayao's popular anime filmSpirited Away (2001), revealing the sophisticated patterns of mimesis that are unique but not exclusive to modern Japanese art. In doing so, Lucken identifies the tensions that drive the Japanese imagination, which are much richer than a simple opposition between progress and tradition, and their reflection of human culture's universal encounter with change. This global perspective explains why, despite its non-Western origins, Japanese art has earned such a vast following.

Recenzijas

Imitation and Creativity in Japanese Arts is a sophisticated and complex meditation on the nature of Japanese creativity and. by extension, on the nature of artistic creativity in general. Michael Lucken's writing is a performance, and it is dazzling. -- Thomas Rimer, coeditor, The Columbia Anthology of Modern Japanese Literature A well-written and rigorously researched analysis that is grounded in both Continental and Japanese theoretical literature. The book will offer a perspective that is fresh for many readers and will be a significant contribution to the current literature on modern Japanese art and visual culture. -- Jonathan Reynolds, Barnard College Lucken skillfully takes on the powerful and persistent stereotype of the Japanese as imitative and derivative. His erudite and measured treatment not only debunks this misrepresentation once and for all but also authoritatively demonstrates its insidious ideological legacy. -- Gennifer Weisenfeld, Duke University This book is an erudite, far-reaching, and deftly transnational inquiry into the philosophical bases and artistic practices of imitation and creativity. Lucken mounts an effective critique of one of the most fundamental underpinnings of discourses privileging Euro-American modernism and offers conceptual alternatives for rethinking modernist studies. This elegantly translated book is a must-read for anyone interested in modernism and is particularly essential for scholars working on multiple modernisms. -- Ming Tiampo, author of Gutai: Decentering Modernism Lucken questions the very 'orientalist' hegemonic structure of, in the words of Edward Said, 'grasping the other,' which has woven up the discourses on things Japanese in mutual dependence. Therefore, his book endeavors to overcome the dominant academic framework, which has been concocted in the midst of Western imperialism, and the reactions against it from the rest of the world. -- Shigemi Inaga, International Research Center for Japanese Studies Thoroughly documented, and including a select bibliography, Lucken's book is required reading for artists and for historians and connoisseurs of Japanese arts... Essential. Choice

Papildus informācija

The idea that Japanese art is produced through rote copy and imitation is an eighteenth-century colonial construction, with roots in Romantic ideals of originality. Offering a much-needed corrective to this critique, Michael Lucken demonstrates the distinct character of Japanese mimesis and its dynamic impact on global culture, showing through several twentieth-century masterpieces the generative and regenerative power of Japanese creativity.
Introduction 1(8)
PART I A Historical Construction
1 Copycat Japan
9(11)
2 The West and the Invention of Creation
20(9)
3 The Denial, Rejection, and Sublimation of Imitation
29(8)
4 No Poaching
37(6)
5 Seen from Japan
43(18)
6 The Logic of Reflection in Nakai Masakazu
61(14)
PART II A New Place for Imitation
7 Kishida Ryusei's Portraits of Reiko, or, How Can Ghosts Be at Work?
75(32)
8 Kurosawa Akira's Ikiru, or, the Impossibility of Metaphor
107(30)
9 Araki Nobuyoshi's Sentimental Journey---Winter, or, Eternal Bones
137(38)
10 Miyazaki Hayao's Spirited Away, or, the Adventure of the Obliques
175(26)
Conclusion 201(6)
Notes 207(24)
Select Bibliography 231(6)
Index 237
Michael Lucken is a professor at the National Institute of Oriental Languages and Civilizations in Paris. He is the author of L'Art du Japon au vingtieme siecle (Japanese Art in the Twentieth Century, 2001) and a coeditor of Japan's Postwar (2011).
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