Culture and identity Rimer, J. Thomas
2014., 20140701, 2014, 1990, 2014-07-14, 19900101, Letnik:
1106
eBook
This collection of essays represents the first attempt in this country to examine systematically the nature and development of modern Japanese self-consciousness as expressed through culture. The ...essays reveal eloquently the extent to which important aspects of Japanese intellectual life in the early twentieth century were inspired by European models of cultural criticism, ranging from Kant and Hegel to Nietzsche, Marx, Durkheim, and Bergson. Implicitly comparative, this collection raises the question whether "late" industrialization and related processes call forth cultural convergence (as between "East" and "West") or whether a living culture transforms these processes and makes one nation's experience significantly different from that of others.
Together with the editor, the contributors include Brett de Bary, Thomas W. Burkman, H. D. Harootunian, Germaine A. Hoston, Nozomu Kawamura, Stephen W. Kohl, William R. LaFleur, Hajimu Nakano, Donald Roden, Miriam Silverberg, Eugene Soviak, Jackie Stone, Shuji Takashina, and Makoto Ueda.
Originally published in 1990.
ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Long accustomed to writing in the tradition of the flamboyantkabuki, Japanese dramatists had a more difficult struggle in modernizing their art than did writers of fiction and poetry. The work of ...Kishida Kunio, however, established and matured modern Japanese drama, modeled on the western psychological drama of Ibsen and Chekhov.
J. Thomas Rimer traces the initial modernization efforts undertaken by the first generation of Japanese playwrights of theshingeki, or "New Theatre.'" His study then concentrates on the work of Kishida Kunio, the most important figure in the Japanese theatre of the 1930s and 1940s.
Kishida, who studied with the well-known French director Jacques Copeau in 1921, returned to Japan with the goal of establishing a modern drama of psychological dimensions for the Japanese theatre. His work demonstrated his talent as a playwright and laid the foundation for later modern Japanese playwrights.
Originally published in 1974.
ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Thomas Rimer's book seeks to explain the background, structural principles, and development of pre-modem and modern Japanese fiction in a way that is comprehensive, methodical, and accessible to the ...general reader.
Originally published in 1987.
ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
This anthology is the first to survey the full range of modern Japanese drama and make available Japan's best and most representative twentieth- and early-twenty-first-century works in one volume. It ...opens with a comprehensive introduction to Meiji-period drama and follows with six chronological sections: "The Age of Taisho Drama"; The Tsukiji Little Theater and Its Aftermath"; "Wartime and Postwar Drama"; "The 1960s and Underground Theater"; "The 1980s and Beyond"; and "Popular Theater," providing a complete history of modern 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), Morimoto Kaoru (A Woman's Life), Abe Kobo (The Man Who Turned into a Stick), Kara Juro (Two Women), Terayama Shuji (Poison Boy), Noda Hideki (Poems for Sale), and Mishima Yukio (The Sardine Seller's Net of Love). Leading translators include Donald Keene, J. Thomas Rimer, M. Cody Poulton, John K. Gillespie, Mari Boyd, and Brian Powell. Each section features an introduction to the developments and character of the period, notes on the plays' productions, and photographs of their stage performances. The volume complements any study of modern Japanese literature and modern drama in China, Korea, or other Asian or contemporary Western nations.
Long accustomed to writing in the tradition of the flamboyant kabuki , Japanese dramatists had a more difficult struggle in modernizing their art than did writers of fiction and poetry. The work of ...Kishida Kunio, however, established and matured modern Japanese drama, modeled on the western psychological drama of Ibsen and Chekhov.
J. Thomas Rimer traces the initial modernization efforts undertaken by the first generation of Japanese playwrights of the shingeki , or New Theatre.' His study then concentrates on the work of Kishida Kunio, the most important figure in the Japanese theatre of the 1930s and 1940s.
Kishida, who studied with the well-known French director Jacques Copeau in 1921, returned to Japan with the goal of establishing a modern drama of psychological dimensions for the Japanese theatre. His work demonstrated his talent as a playwright and laid the foundation for later modern Japanese playwrights.
Originally published in 1974.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Metamorphosis from a Distance Rimer, Thomas
Theatre journal (Washington, D.C.),
10/2007, Letnik:
59, Številka:
3
Journal Article
Recenzirano
In general, to make a rough analogy from those stages of cultural accommodation outlined by Patrice Pavis in his Theatre at the Crossroads of Culture, i have generally found that the emphasis for me ...in creating a usable translation must be placed on what the spectator can be expected to usefully receive, rather than on attempting to maintain any overly stern fidelity to the nuances of the original.25 During the course of many years i have worked to translate theatre texts both from contemporary and classical Japanese, and i have translated a certain number of critical texts from both as well. Perhaps the most significant issue in translating classical Japanese theatre texts centers on the fact that, from a Western perspective, nô, bunraku (the eighteenth-century puppet theatre), and kabuki texts resemble more the librettos to operas than they do any fully sustained dramatic texts. nô in particular is often described as a kind of total theatre, involving text, music, dance, mime, declamation, and so on; thus the text, however beautiful, is only one element in the total spectacle, which has been as carefully mapped out in its fashion as an opera by Mozart.
Beneath the veneer of honor provided by their traditional status as a lineage of hereditary village headman, the family was ravaged during TÅson's lifetime by mental illness, physical infirmity, ...financial incompetence, sexual impropriety, and a devastating house fire. Reduced to poverty in part by the profligacy of his troubled relatives, TÅson himself suffered from cramped quarters, embarrassing debts, and the torment of watching several of his loved ones succumb to hunger, sickness, depression, and premature death. Social historians have long understood that the fear of financial ruin constantly hounded the Japanese rural elite, whose positions in a competitive commercial order could be wrecked by a single dissolute heir or a string of bad luck in the market.
What was the nature of the movement for a modern theatre in Japan? By 1925, Japan had several thoroughly professional playwrights who wrote works of considerable literary interest, dealing with ...concerns that would have seemed no less important to a European or an American audience than to a Japanese one. Yet the manner in which Japanese writers first came to take an interest in the theatre, and the problems they faced, suggest that their difficulties were more complex than any their European counterparts had encountered a generation or two before. A brief description of the early attempts made in Japan
