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This collection of essays is the outcome of an international symposium, jointly organised by the International Research Center for Japanese Studies, Kyoto, and the Section of Japanese Studies of the Katholieke Universiteit Leuven in October 1998. It was the second in a series of three international symposia that the International Resaerch Center for Japanese Studies organised in Europe in conjunction with a European partner.The Leuven Symposium, which went under the general title of Translations of Culture, Culture of Translation, actually consisted of two parallel sessions. The first one was a workshop on Gender and Modernity in Japan. The second one was devoted to a reflection on Translati...
This book establishes a dialogue between colonial studies and the history of science, contributing to a renewed analytical framework grounded on a trans-national, trans-cultural and trans-imperial perspective. It proposes a historiographical revision based on self-organization and cooperation theories, as well as the role of traditionally marginalized agents, including women, in processes that contributed to the building of a First Global Age, from 1400 to 1800. The intermediaries between European and local bearers of knowledge played a central role, together with cultural translation processes involving local practices of knowledge production and the global circulation of persons, commoditi...
Focusing on one landmark catastrophic event in the history of an emerging modern nation—the Great Kanto Earthquake that devastated Tokyo and surrounding areas in 1923—this fascinating volume examines the history of the visual production of the disaster. The Kanto earthquake triggered cultural responses that ran the gamut from voyeuristic and macabre thrill to the romantic sublime, media spectacle to sacred space, mournful commemoration to emancipatory euphoria, and national solidarity to racist vigilantism and sociopolitical critique. Looking at photography, cinema, painting, postcards, sketching, urban planning, and even scientific visualizations, Weisenfeld demonstrates how visual culture has powerfully mediated the evolving historical understanding of this major national disaster, ultimately enfolding mourning and memory into modernization.
This volume tackles the unique scholarly challenges of Cultural Interaction Studies in an East Asian context. Leading experts in a variety of related fields – from religion and history to geography, language, literature, Sinology and Japanology – have contributed a total of 18 articles, collected under the following six rubrics: "New Directions in Regional Studies", "New Trends in Humanities Studies", "Material Circulation and Cultural Transmission in East Asia", "China's Experience of Cultural Interaction with the West", "Transformation of Japanese Scholarship from Early Modern to Modern Times", and "The Wisdom of Selective Adaptation and Constructive Dialog". Among the eight award-winn...
Examines the top ministerial team sent in 1872 by the new Meiji government to the West in order to idenitify, classify and assess Western technology and culture, and to open a dialogue to review the so-called 'unequal treaties'.
This book opens with an examination of values themselves, grappling with western assertions of individual human rights and the eastern emphasis on duties, and analysing selected Asian philosophical and religious traditions. Several case studies follow, on countries the Philippines, Japan, China, Malaysia and Thailand. The purpose of the book is to help westerners in particular to understand and appreciate better the changes taking place in Asia, to handle relations more sensitively, and thereby to help bring Europe and Asia together.
This book describes more than 220 copies of various astronomical publications by the missionary Ferdinand Verbiest, S.J. (1623-1688) sent from Peking.
The Mandate of Heaven examines the first European version of Sunzi’s Art of War. His work is presented in English for the first time.
"His first work, when he was still in Flanders, testify to the sense of humanity, compassion and popular wit that is so typical of his artistic tradition. He learnt the Chinese painting techniques the hard way, and this apprenticeship caused a certain stiffness or conventionality in the works he produced during this period. The mission he had, to produce "religious paintings", reinforced this tendency. At the same time, the discipline of Chinese painting greatly softened and enriched his sense of line and landscape, and his drawings were gradually filled with the spirit, with the cosmic feature, which Chinese painting aims at expressing. But the most striking feature of Mon Van Genechten's artistic evolution was his coming back to the popular, compassionate vein that characterized his first works, without losing what he had learnt during his Chinese apprenticeship."--BOOK JACKET.