By Donald Richie
This provocative booklet is a tractate—a treatise—on good looks in eastern paintings, written within the demeanour of a zuihitsu, a free-ranging collection of rules that “follow the brush” anyplace it leads. Donald Richie seems to be at how perceptual values in Japan have been drawn from uncooked nature after which converted by way of dependent expressions of sophistication and flavor. He explains aesthetic recommendations like wabi, sabi, conscious, and yugen, and ponders their relevance in artwork and cinema today.
Donald Richie is the major explorer of jap tradition in English, and this paintings is the end result of sixty years of gazing and writing from his domestic in Tokyo.
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Extra resources for A Tractate on Japanese Aesthetics
Coetzee, Disgrace, 160. 9. , 205. 10. , 192. 11. Gerhard Stilz, “Heroic Travellers—Romantic Landscapes: The Colonial Sublime in Indian, Australian, and American Art and Literature,” in The Making of Modern Tourism: The Cultural History of the British Experience, 1600–2000, edited by Barbara Korte, Hartmut Berghoff, Ralf Schneider, and Christopher Harvie (New York, NY, and Basingstoke, UK: Palgrave Macmillan, 2002), 856–57. 12. Malcolm Sen, “Spatial Justice: The Ecological Imperative and Postcolonial Development,” Journal of Postcolonial Writing 45:4 (2009): 366.
Of Gods and Dogs 43 85. , 81. Elizabeth Anker writes, “By endorsing instinct, experienced by ‘even the small birds,’ Lurie attempts to naturalize desire and its claims, deeming it authentic in contrast to the falsifying norms of the law” (Elizabeth S. M. Coetzee’s Disgrace,” Modern Fiction Studies 54:2 : 245–46). Tom Herron observes that David’s attitude, at this point in the novel, is self-serving: “In apparent contradiction to his professed lack of interest in animals, David is in fact rather fond of describing himself and, more pointedly, his relationships with women in terms drawn from the animal kingdom” (Tom Herron, “The Dog-Man: Becoming Animal in Coetzee’s Disgrace” Twentieth-Century Literature 51:4 : 476).
154 Melanie’s boyfriend drives him away before he can speak to her and, emotionally shaken, he rents a young prostitute. ” 155 Deprived of the opportunity to speak with Melanie and, one hopes, apologize to her, David’s clumsy love is again redirected towards sexual exploitation, though his emotions burst forth in an epiphanic realization. If a god is leading him, it is one whose messages are coded into non-discursive signs that David must interpret through feeling rather than reason. The “heart” resurfaces with increasing frequency as the sign of the differend and as language, ideas, theories, and abstractions continue to be problematized throughout the novel.