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if ($a.is_logged_in() && $viewedUser.is_current_user()) { $('body').addClass('profile-viewed-by-owner'); } $socialProfiles = []</script><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://otago.academia.edu/RoyStarrs","location":"/RoyStarrs","scheme":"https","host":"otago.academia.edu","port":null,"pathname":"/RoyStarrs","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="ProfileCheckPaperUpdate" data-props="{}" data-trace="false" data-dom-id="ProfileCheckPaperUpdate-react-component-eb65563e-a6e2-4ac1-976f-412f4994fc1c"></div> <div id="ProfileCheckPaperUpdate-react-component-eb65563e-a6e2-4ac1-976f-412f4994fc1c"></div> <div class="DesignSystem"><div class="onsite-ping" id="onsite-ping"></div></div><div class="profile-user-info DesignSystem"><div class="social-profile-container"><div class="left-panel-container"><div class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="Roy A Starrs" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/22163684/164565848/154381134/s200_roy.starrs.png" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Roy A Starrs</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://otago.academia.edu/">University of Otago</a>, <a class="u-tcGrayDarker" href="https://otago.academia.edu/Departments/Languages_and_Cultures/Documents">Languages and Cultures</a>, <span class="u-tcGrayDarker">Faculty Member</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Roy" data-follow-user-id="22163684" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" data-unfollow-user-id="22163684"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">done</span>Following</button></div></div><div class="user-stats-container"><a><div class="stat-container js-profile-followers"><p class="label">Followers</p><p class="data">42</p></div></a><a><div class="stat-container js-profile-followees" data-broccoli-component="user-info.followees-count" data-click-track="profile-expand-user-info-following"><p class="label">Following</p><p class="data">1</p></div></a><span><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">Roy Starrs is a British-Canadian scholar of Japanese literature and culture who teaches at the University of Otago in New Zealand. He has written critical studies of the major Japanese writers Yasunari Kawabata, Naoya Shiga, Osamu Dazai, and Yukio Mishima, and edited books on Asian nationalism (especially ethnic nationalism, religious nationalism, and cultural nationalism), globalization, pan-Asianism, Japanese modernism, and cultural responses to disaster in Japan. He has also published essays on Japan-related topics such as the Kojiki, Lafcadio Hearn and Japanese calligraphy. <br /> <br />Roy Starrs is also the Japan editor of the online The Literary Encyclopedia. <br /> <br />He received his Ph.D. from the University of British Columbia in 1986 and previously taught at U.B.C., Union College (New York), and Aarhus University (Denmark). <br /> <br />Selected Works by Roy Starrs <br /> <br />    Deadly Dialectics: Sex, Violence, and Nihilism in the World of Yukio Mishima, University of Hawaii Press, 1994, ISBN 0-8248-1630-7 and ISBN 0-8248-1630-7. <br />    Soundings in Time: The Fictive Art of Kawabata Yasunari. University of Hawai'i Press/RoutledgeCurzon. 1998. ISBN 1-873410-74-3. <br />    An Artless Art - The Zen Aesthetic of Shiga Naoya: A Critical Study with Selected Translations. RoutledgeCurzon (1998). ISBN 1-873410-64-6. <br />    "Writing the National Narrative: Changing Attitudes Towards Nation-Building Among Japanese Writers, 1900-1930", in Japan’s Competing Modernities: Issues in Culture and Democracy, 1900-1930. S. Minichiello ed. Honolulu, University of Hawaii Press (1998), pp. 161–189 ISBN 0-8248-1931-4 (cloth) ISBN 0-8248-2080-0 (paper). <br />    Asian Nationalism in an Age of Globalization. London: RoutledgeCurzon. 2001. ISBN 1-903350-03-4. <br />    Nations Under Siege: Globalization and Nationalism in Asia. New York: Palgrave Macmillan. 2002. ISBN 0-312-29410-7. <br />    Japanese Cultural Nationalism: At Home and in the Asia Pacific. London: Global Oriental. 2004. ISBN 1-901903-11-7. <br />    "Nation and Region in the Work of Dazai Osamu," in Roy Starrs Japanese Cultural Nationalism: At Home and in the Asia Pacific. London: Global Oriental. 2004. ISBN 1-901903-11-7. <br />    "The Road to Violent Action: Mishima Yukio," in Fascism: Critical Concepts in Political Science, volume 5 (Postwar Fascisms), edited by Roger Griffin with Matthew Feldman. London; New York: Routledge. (Part of the Routledge Major Work series.) (2004), pp. 249–266. ISBN 0-415-29015-5. <br />    "The Kojiki as Japan's National Narrative," in Asian Futures, Asian Traditions, edited by Edwina Palmer. Folkestone, Kent: Global Oriental. ISBN 1-901903-16-8. <br />    "Lafcadio Hearn as Japanese Nationalist," in Nichibunken Japan Review: Journal of the International Research Center for Japanese Studies, Number 18, 2006, pp. 181–213. <br />    "Ink Traces of the Dancing Calligraphers: Zen-ei Sho in Japan Today," in Henry Johnson and Jerry C. Jaffe, eds. Performing Japan: Contemporary Expressions of Cultural Identity London, Global Oriental and Honolulu: University of Hawai’i Press (2008). ISBN 1-905246-31-5. <br />    "Politics and Religion in Japan," in Religion Compass 3/4 (2009), pp. 752–769. (http://www.blackwell-compass.com/subject/religion/) <br />    "A Devil of a Job: Mishima and the Masochistic Drive," in "Angelaki" (2009), Volume 14, Issue 3 December 2009, pp. 85–99. (http://www.informaworld.com/10.1080/09697250903407583) <br />    "Modernism and Japanese Culture," London: Palgrave Macmillan, 2011. (http://www.palgrave.com/products/title.aspx?pid=360186) <br />    ed., "Politics and Religion in Modern Japan: Red Sun, White Lotus," London: Palgrave Macmillan, 2011. (http://www.palgrave.com/products/title.aspx?pid=385916) <br />    "Zen, Japan, and the Art of Democracy," in the "New Statesman," July 4, 2011. (http://www.newstatesman.com/asia/2011/07/japan-essay-nature-earthquake) <br />    ed., "Rethinking Japanese Modernism," Leiden and Boston: Brill, 2012. (http://www.brill.nl/rethinking-japanese-modernism) <br />    When the Tsunami Came to Shore: Culture and Disaster in Japan. Boston and Leiden: Brill. 2014. ISBN 9789004268296. <br />(http://www.brill.com/products/book/when-tsunami-came-shore)<br /><b>Address: </b>New Zealand<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span><a class="ri-more-link js-profile-ri-list-card" data-click-track="profile-user-info-primary-research-interest" data-has-card-for-ri-list="22163684">View All (11)</a></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="22163684" href="https://www.academia.edu/Documents/in/Japanese_Studies"><div id="js-react-on-rails-context" style="display:none" 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data-trace="false" data-dom-id="Pill-react-component-e65ef1e2-789b-416b-9d5f-0ef699539c35"></div> <div id="Pill-react-component-e65ef1e2-789b-416b-9d5f-0ef699539c35"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="22163684" href="https://www.academia.edu/Documents/in/Disaster_Studies"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Disaster Studies"]}" data-trace="false" data-dom-id="Pill-react-component-25cb2dfb-ed5f-44ba-99ef-3bf352e90ea1"></div> <div id="Pill-react-component-25cb2dfb-ed5f-44ba-99ef-3bf352e90ea1"></div> </a></div></div></div></div><div class="right-panel-container"><div class="user-content-wrapper"><div class="uploads-container" id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Roy A Starrs</h3></div><div class="js-work-strip profile--work_container" data-work-id="124239643"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124239643/An_Artless_Art_The_Zen_Aesthetic_of_Shiga_Naoya"><img alt="Research paper thumbnail of An Artless Art: The Zen Aesthetic of Shiga Naoya" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124239643/An_Artless_Art_The_Zen_Aesthetic_of_Shiga_Naoya">An Artless Art: The Zen Aesthetic of Shiga Naoya</a></div><div class="wp-workCard_item"><span>Journal of Japanese Studies</span><span>, 2000</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the first study of Shiga Naoya (1883-1971) to explore in depth his affinities, both aesth...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the first study of Shiga Naoya (1883-1971) to explore in depth his affinities, both aesthetic and philosophic, with the long East Asian tradition of Zen art. At the same time that it places his &#39;artless art&#39; solidly within this native tradition, the book also views his work in a wider comparative perspective - showing the relevance of his particular shi-shosetsu (&#39;I-novel&#39; ) form to developments in nineteenth- and twentieth-century Western fiction. Considered a giant within his own society, Shiga is hardly known outside Japan. Besides its critical study, this book also contains a number of translations of Shiga&#39;s writing that appear in English for the first time. These include his celebrated novella Reconciliation, considered by Japanese critics to be essential reading for anyone who would understand this most &#39;Japanese&#39; of Japanese writers. The author argues in the book that this commonly-used translation is meaningless, and that the shi-shosetsu should be viewed as a literary genre in its own right, as with haiku, renga and no.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124239643"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124239643"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124239643; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124239643]").text(description); $(".js-view-count[data-work-id=124239643]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124239643; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124239643']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124239643, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124239643]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124239643,"title":"An Artless Art: The Zen Aesthetic of Shiga Naoya","translated_title":"","metadata":{"abstract":"This is the first study of Shiga Naoya (1883-1971) to explore in depth his affinities, both aesthetic and philosophic, with the long East Asian tradition of Zen art. At the same time that it places his \u0026#39;artless art\u0026#39; solidly within this native tradition, the book also views his work in a wider comparative perspective - showing the relevance of his particular shi-shosetsu (\u0026#39;I-novel\u0026#39; ) form to developments in nineteenth- and twentieth-century Western fiction. Considered a giant within his own society, Shiga is hardly known outside Japan. Besides its critical study, this book also contains a number of translations of Shiga\u0026#39;s writing that appear in English for the first time. These include his celebrated novella Reconciliation, considered by Japanese critics to be essential reading for anyone who would understand this most \u0026#39;Japanese\u0026#39; of Japanese writers. 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Introduction: The Mask and the Hammer 4 PART ONE: MISHIMA AS A PHILOSOPHIC NOVELIST 1. Mishim...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... Introduction: The Mask and the Hammer 4 PART ONE: MISHIMA AS A PHILOSOPHIC NOVELIST 1. Mishima&#x27;s Ambition to Write Philosophic Novels 10 2. The Influence of Nietzsche and Thomas Mann 13 3. The Making of a Nihilist 24 4. The Active/Passive Nihilist Dialectic 40 5 ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124239642"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124239642"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124239642; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124239642]").text(description); $(".js-view-count[data-work-id=124239642]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124239642; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124239642']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124239642, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124239642]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124239642,"title":"Deadly Dialectics: Sex, Violence and Nihilism in the World of Yukio Mishima","translated_title":"","metadata":{"abstract":"... 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The Active/Passive Nihilist Dialectic 40 5 ...","internal_url":"https://www.academia.edu/124239642/Deadly_Dialectics_Sex_Violence_and_Nihilism_in_the_World_of_Yukio_Mishima","translated_internal_url":"","created_at":"2024-09-28T21:29:03.419-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":22163684,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Deadly_Dialectics_Sex_Violence_and_Nihilism_in_the_World_of_Yukio_Mishima","translated_slug":"","page_count":null,"language":"en","content_type":"Work","owner":{"id":22163684,"first_name":"Roy","middle_initials":"A","last_name":"Starrs","page_name":"RoyStarrs","domain_name":"otago","created_at":"2014-11-24T08:38:39.352-08:00","display_name":"Roy A Starrs","url":"https://otago.academia.edu/RoyStarrs"},"attachments":[],"research_interests":[{"id":221,"name":"Psychology","url":"https://www.academia.edu/Documents/in/Psychology"},{"id":387,"name":"Japanese Studies","url":"https://www.academia.edu/Documents/in/Japanese_Studies"},{"id":14190,"name":"Nihilism","url":"https://www.academia.edu/Documents/in/Nihilism"},{"id":16206,"name":"Dialectic","url":"https://www.academia.edu/Documents/in/Dialectic"},{"id":28235,"name":"Multidisciplinary","url":"https://www.academia.edu/Documents/in/Multidisciplinary"}],"urls":[{"id":44867769,"url":"https://doi.org/10.2307/2385285"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124239147"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124239147/1_Ink_Traces_Of_The_Dancing_Calligraphers_Zen_Ei_Sho_In_Japan_Today"><img alt="Research paper thumbnail of 1. Ink Traces Of The Dancing Calligraphers: Zen-Ei Sho In Japan Today" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124239147/1_Ink_Traces_Of_The_Dancing_Calligraphers_Zen_Ei_Sho_In_Japan_Today">1. Ink Traces Of The Dancing Calligraphers: Zen-Ei Sho In Japan Today</a></div><div class="wp-workCard_item"><span>BRILL eBooks</span><span>, 2008</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The high cultural status and centrality of calligraphy in the Japanese visual-art tradition, as i...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The high cultural status and centrality of calligraphy in the Japanese visual-art tradition, as in that of East Asia generally, is perhaps the most obvious of the defining features of that tradition. Calligraphy is not the &#39;seed art&#39; of Japan and East Asia because of any religious taboo against depicting the human image, but rather because of the high aesthetic and spiritual value attached to the calligraphic art itself. There was a moment in the history of the separate careers of Japanese and Western expressionism when the two traditions made tentative contacts with each other and a genuine and lasting meeting of minds and even of artistic practice seemed a real possibility. Certainly, in terms of viewer response, some cognizance of the millennia-long calligraphic tradition and its centrality in Japanese culture is necessary for a full understanding of the impact of zen-ei sho in postwar Japan. Keywords: calligraphic art; east Asia; Japanese culture; Japanese expressionism; Japanese visual-art tradition; western expressionism; zen-ei sho</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124239147"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124239147"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124239147; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124239147]").text(description); $(".js-view-count[data-work-id=124239147]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124239147; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124239147']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124239147, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124239147]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124239147,"title":"1. Ink Traces Of The Dancing Calligraphers: Zen-Ei Sho In Japan Today","translated_title":"","metadata":{"abstract":"The high cultural status and centrality of calligraphy in the Japanese visual-art tradition, as in that of East Asia generally, is perhaps the most obvious of the defining features of that tradition. Calligraphy is not the \u0026#39;seed art\u0026#39; of Japan and East Asia because of any religious taboo against depicting the human image, but rather because of the high aesthetic and spiritual value attached to the calligraphic art itself. There was a moment in the history of the separate careers of Japanese and Western expressionism when the two traditions made tentative contacts with each other and a genuine and lasting meeting of minds and even of artistic practice seemed a real possibility. Certainly, in terms of viewer response, some cognizance of the millennia-long calligraphic tradition and its centrality in Japanese culture is necessary for a full understanding of the impact of zen-ei sho in postwar Japan. Keywords: calligraphic art; east Asia; Japanese culture; Japanese expressionism; Japanese visual-art tradition; western expressionism; zen-ei sho","publisher":"Brill","publication_date":{"day":null,"month":null,"year":2008,"errors":{}},"publication_name":"BRILL eBooks"},"translated_abstract":"The high cultural status and centrality of calligraphy in the Japanese visual-art tradition, as in that of East Asia generally, is perhaps the most obvious of the defining features of that tradition. Calligraphy is not the \u0026#39;seed art\u0026#39; of Japan and East Asia because of any religious taboo against depicting the human image, but rather because of the high aesthetic and spiritual value attached to the calligraphic art itself. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124239145"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124239145/From_Mishima_to_Aum_Religio_political_Violence_in_Late_Twentieth_Century_Japan"><img alt="Research paper thumbnail of From Mishima to Aum: Religio-political Violence in Late Twentieth-Century Japan" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124239145/From_Mishima_to_Aum_Religio_political_Violence_in_Late_Twentieth_Century_Japan">From Mishima to Aum: Religio-political Violence in Late Twentieth-Century Japan</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">On November 25, 1970, the internationally famous writer Mishima Yukio, a frequent nominee for the...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">On November 25, 1970, the internationally famous writer Mishima Yukio, a frequent nominee for the Nobel Prize, shocked the world by committing an act of suicidal terrorism. With half a dozen members of his private army, the ‘Shield Society,’ he entered the office of the commanding officer of a Tokyo military base and forcibly took him hostage – delivering sword blows to some other officers in the process. Then he coerced the commander to call an assembly of his troops on the parade ground outside. While helicopters hovered noisily overhead, almost drowning out his words (the media-savvy Mishima had summoned the Press that morning to record what he called his ‘little show’), he stood precariously perched on the balustrade of a balcony high above the assembled troops and harangued them at the top of his voice. If he had fallen off at that point, as seemed quite likely, his ‘attempted coup’ would have come to the abrupt and farcical ending that perhaps it deserved. But, luckily for Mishima, he kept his balance, and for ten minutes or so tried to incite the troops to rebel against a ‘corrupt’ government that had consigned them to the ‘shameful’ status of a mere ‘self-defense force’ – in such sad contrast to their proud erstwhile role as the ‘Imperial Army,’ the shield of the divine emperor and the scourge of all his enemies. It was as if he were addressing a pathetic paper tiger that had been de-fanged and de-clawed, imploring it to recover its fighting spirit.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124239145"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124239145"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124239145; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124239145]").text(description); $(".js-view-count[data-work-id=124239145]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124239145; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124239145']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124239145, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124239145]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124239145,"title":"From Mishima to Aum: Religio-political Violence in Late Twentieth-Century Japan","translated_title":"","metadata":{"abstract":"On November 25, 1970, the internationally famous writer Mishima Yukio, a frequent nominee for the Nobel Prize, shocked the world by committing an act of suicidal terrorism. 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National Poetics...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Acknowledgements Introduction PART ONE: JAPANESE CULTURAL NATIONALISM AT HOME 1. National Poetics and National Identity 2. The Domestic and the Foreign in Heian Literature 3. Tsuda Umeko and Meiji Cultural Nationalism Discourse 4. Nitobe Inazo and Japanese Nationalism 5. Nishida Kitaro and Nationalism 6. Nation and Region in the Work of Dazai Osamu 7. The Legacy of Shiba Ryotaro 8. Cultural Nationalism in Japanese Language Textbooks 9. The Koto, Traditional Music, and an Idealized Japan: Cultural Nationalism in Music Performance and Education 10. The Beauty of Personal Sorrow in War: Kike wadatsumi no koe PART TWO: JAPANESE CULTURAL NATIONALISM IN AN ASIA-PACIFIC CONTEXT 11. Race-ing Japan 12. Shiga Shigetaka (1863-1927) and New Zealand as a Model for Japan 13. Japanese Nationalism and China&#39;s Independence:Yamaji Aizan 1865-1917 14. Envisioning a Liberal Empire: A Dialectical Imagination between Cultural Nationalism and Cultural Internationalism in Modern Japan, 1905-1919 15. Dunhuangology as Nationalist Apparatus: The Kyoto School of Oriental Studies and its Connections with Modern Chinese Historiography 16. The Japanese Occupation of Micronesia in the Context of Imperialism 17. Wrestling with Foreign Yokozuna Index</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124239144"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124239144"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124239144; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124239144]").text(description); $(".js-view-count[data-work-id=124239144]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124239144; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124239144']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124239144, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124239144]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124239144,"title":"Japanese cultural nationalism : at home and in the Asia Pacific","translated_title":"","metadata":{"abstract":"Acknowledgements Introduction PART ONE: JAPANESE CULTURAL NATIONALISM AT HOME 1. 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The Beauty of Personal Sorrow in War: Kike wadatsumi no koe PART TWO: JAPANESE CULTURAL NATIONALISM IN AN ASIA-PACIFIC CONTEXT 11. Race-ing Japan 12. Shiga Shigetaka (1863-1927) and New Zealand as a Model for Japan 13. Japanese Nationalism and China\u0026#39;s Independence:Yamaji Aizan 1865-1917 14. Envisioning a Liberal Empire: A Dialectical Imagination between Cultural Nationalism and Cultural Internationalism in Modern Japan, 1905-1919 15. Dunhuangology as Nationalist Apparatus: The Kyoto School of Oriental Studies and its Connections with Modern Chinese Historiography 16. The Japanese Occupation of Micronesia in the Context of Imperialism 17. 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Some of the key issues dealt with are: the globalization of Hindu nationalism; the ideologica...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... Some of the key issues dealt with are: the globalization of Hindu nationalism; the ideological struggle in East Asia between nationalists and the advocates of a pan-Asian civilization; the repercussions for Asian nations of the recent pan-Asian financial crisis; the rise of neo-IN r ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124239143"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124239143"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124239143; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124239143]").text(description); $(".js-view-count[data-work-id=124239143]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124239143; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124239143']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124239143, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124239143]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124239143,"title":"Nations under siege : globalization and nationalism in Asia","translated_title":"","metadata":{"abstract":"... 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It ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter discusses social anthropological, political, cultural and even aesthetic issues. It deals directly with religious or theological responses to &#39;3/11&#39; as well as other disasters. The chapter then focuses on literary responses to 3/11 and earlier Japanese disasters. In presenting Nagai&#39;s &#39;Catholic response&#39; as a significant part of post-war Japanese culture, Doak argues for a wider, more diverse vision of &#39;Japanese culture&#39; than has often been purveyed by Western Japanology, which tends, for instance, to regard Christianity as somehow &#39;un-Japanese&#39;. Both Roman Rosenbaum and Jeffrey Angles deal with the immediate literary response to the March 2011 disaster, and both find that it yielded an especially rich harvest of poetry. If, for both aesthetic and ethical reasons, writers and artists sometimes seem reluctant to &#39;make cultural capital&#39; out of disaster, politicians rarely exhibit a similar reluctance to &#39;make political capital&#39; out of it. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124239128"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/124239128/Soundings_in_Time_The_Fictive_Art_of_Yasunari_Kawabata"><img alt="Research paper thumbnail of Soundings in Time: The Fictive Art of Yasunari Kawabata" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/124239128/Soundings_in_Time_The_Fictive_Art_of_Yasunari_Kawabata">Soundings in Time: The Fictive Art of Yasunari Kawabata</a></div><div class="wp-workCard_item"><span>Monumenta Nipponica</span><span>, 2000</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124239128"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124239128"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124239128; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="2311466" id="papers"><div class="js-work-strip profile--work_container" data-work-id="124239643"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124239643/An_Artless_Art_The_Zen_Aesthetic_of_Shiga_Naoya"><img alt="Research paper thumbnail of An Artless Art: The Zen Aesthetic of Shiga Naoya" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124239643/An_Artless_Art_The_Zen_Aesthetic_of_Shiga_Naoya">An Artless Art: The Zen Aesthetic of Shiga Naoya</a></div><div class="wp-workCard_item"><span>Journal of Japanese Studies</span><span>, 2000</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the first study of Shiga Naoya (1883-1971) to explore in depth his affinities, both aesth...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the first study of Shiga Naoya (1883-1971) to explore in depth his affinities, both aesthetic and philosophic, with the long East Asian tradition of Zen art. 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Introduction: The Mask and the Hammer 4 PART ONE: MISHIMA AS A PHILOSOPHIC NOVELIST 1. Mishim...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... Introduction: The Mask and the Hammer 4 PART ONE: MISHIMA AS A PHILOSOPHIC NOVELIST 1. Mishima&#x27;s Ambition to Write Philosophic Novels 10 2. The Influence of Nietzsche and Thomas Mann 13 3. The Making of a Nihilist 24 4. 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Ink Traces Of The Dancing Calligraphers: Zen-Ei Sho In Japan Today" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124239147/1_Ink_Traces_Of_The_Dancing_Calligraphers_Zen_Ei_Sho_In_Japan_Today">1. Ink Traces Of The Dancing Calligraphers: Zen-Ei Sho In Japan Today</a></div><div class="wp-workCard_item"><span>BRILL eBooks</span><span>, 2008</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The high cultural status and centrality of calligraphy in the Japanese visual-art tradition, as i...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The high cultural status and centrality of calligraphy in the Japanese visual-art tradition, as in that of East Asia generally, is perhaps the most obvious of the defining features of that tradition. Calligraphy is not the &#39;seed art&#39; of Japan and East Asia because of any religious taboo against depicting the human image, but rather because of the high aesthetic and spiritual value attached to the calligraphic art itself. There was a moment in the history of the separate careers of Japanese and Western expressionism when the two traditions made tentative contacts with each other and a genuine and lasting meeting of minds and even of artistic practice seemed a real possibility. Certainly, in terms of viewer response, some cognizance of the millennia-long calligraphic tradition and its centrality in Japanese culture is necessary for a full understanding of the impact of zen-ei sho in postwar Japan. Keywords: calligraphic art; east Asia; Japanese culture; Japanese expressionism; Japanese visual-art tradition; western expressionism; zen-ei sho</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124239147"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124239147"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124239147; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124239147]").text(description); $(".js-view-count[data-work-id=124239147]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124239147; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124239147']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124239147, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124239147]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124239147,"title":"1. Ink Traces Of The Dancing Calligraphers: Zen-Ei Sho In Japan Today","translated_title":"","metadata":{"abstract":"The high cultural status and centrality of calligraphy in the Japanese visual-art tradition, as in that of East Asia generally, is perhaps the most obvious of the defining features of that tradition. Calligraphy is not the \u0026#39;seed art\u0026#39; of Japan and East Asia because of any religious taboo against depicting the human image, but rather because of the high aesthetic and spiritual value attached to the calligraphic art itself. There was a moment in the history of the separate careers of Japanese and Western expressionism when the two traditions made tentative contacts with each other and a genuine and lasting meeting of minds and even of artistic practice seemed a real possibility. Certainly, in terms of viewer response, some cognizance of the millennia-long calligraphic tradition and its centrality in Japanese culture is necessary for a full understanding of the impact of zen-ei sho in postwar Japan. Keywords: calligraphic art; east Asia; Japanese culture; Japanese expressionism; Japanese visual-art tradition; western expressionism; zen-ei sho","publisher":"Brill","publication_date":{"day":null,"month":null,"year":2008,"errors":{}},"publication_name":"BRILL eBooks"},"translated_abstract":"The high cultural status and centrality of calligraphy in the Japanese visual-art tradition, as in that of East Asia generally, is perhaps the most obvious of the defining features of that tradition. Calligraphy is not the \u0026#39;seed art\u0026#39; of Japan and East Asia because of any religious taboo against depicting the human image, but rather because of the high aesthetic and spiritual value attached to the calligraphic art itself. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124239145"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124239145/From_Mishima_to_Aum_Religio_political_Violence_in_Late_Twentieth_Century_Japan"><img alt="Research paper thumbnail of From Mishima to Aum: Religio-political Violence in Late Twentieth-Century Japan" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124239145/From_Mishima_to_Aum_Religio_political_Violence_in_Late_Twentieth_Century_Japan">From Mishima to Aum: Religio-political Violence in Late Twentieth-Century Japan</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">On November 25, 1970, the internationally famous writer Mishima Yukio, a frequent nominee for the...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">On November 25, 1970, the internationally famous writer Mishima Yukio, a frequent nominee for the Nobel Prize, shocked the world by committing an act of suicidal terrorism. With half a dozen members of his private army, the ‘Shield Society,’ he entered the office of the commanding officer of a Tokyo military base and forcibly took him hostage – delivering sword blows to some other officers in the process. Then he coerced the commander to call an assembly of his troops on the parade ground outside. While helicopters hovered noisily overhead, almost drowning out his words (the media-savvy Mishima had summoned the Press that morning to record what he called his ‘little show’), he stood precariously perched on the balustrade of a balcony high above the assembled troops and harangued them at the top of his voice. If he had fallen off at that point, as seemed quite likely, his ‘attempted coup’ would have come to the abrupt and farcical ending that perhaps it deserved. But, luckily for Mishima, he kept his balance, and for ten minutes or so tried to incite the troops to rebel against a ‘corrupt’ government that had consigned them to the ‘shameful’ status of a mere ‘self-defense force’ – in such sad contrast to their proud erstwhile role as the ‘Imperial Army,’ the shield of the divine emperor and the scourge of all his enemies. It was as if he were addressing a pathetic paper tiger that had been de-fanged and de-clawed, imploring it to recover its fighting spirit.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124239145"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124239145"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124239145; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124239145]").text(description); $(".js-view-count[data-work-id=124239145]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124239145; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124239145']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124239145, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124239145]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124239145,"title":"From Mishima to Aum: Religio-political Violence in Late Twentieth-Century Japan","translated_title":"","metadata":{"abstract":"On November 25, 1970, the internationally famous writer Mishima Yukio, a frequent nominee for the Nobel Prize, shocked the world by committing an act of suicidal terrorism. 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National Poetics...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Acknowledgements Introduction PART ONE: JAPANESE CULTURAL NATIONALISM AT HOME 1. National Poetics and National Identity 2. The Domestic and the Foreign in Heian Literature 3. Tsuda Umeko and Meiji Cultural Nationalism Discourse 4. Nitobe Inazo and Japanese Nationalism 5. Nishida Kitaro and Nationalism 6. Nation and Region in the Work of Dazai Osamu 7. The Legacy of Shiba Ryotaro 8. Cultural Nationalism in Japanese Language Textbooks 9. The Koto, Traditional Music, and an Idealized Japan: Cultural Nationalism in Music Performance and Education 10. The Beauty of Personal Sorrow in War: Kike wadatsumi no koe PART TWO: JAPANESE CULTURAL NATIONALISM IN AN ASIA-PACIFIC CONTEXT 11. Race-ing Japan 12. Shiga Shigetaka (1863-1927) and New Zealand as a Model for Japan 13. Japanese Nationalism and China&#39;s Independence:Yamaji Aizan 1865-1917 14. Envisioning a Liberal Empire: A Dialectical Imagination between Cultural Nationalism and Cultural Internationalism in Modern Japan, 1905-1919 15. Dunhuangology as Nationalist Apparatus: The Kyoto School of Oriental Studies and its Connections with Modern Chinese Historiography 16. The Japanese Occupation of Micronesia in the Context of Imperialism 17. Wrestling with Foreign Yokozuna Index</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124239144"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124239144"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124239144; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124239144]").text(description); $(".js-view-count[data-work-id=124239144]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124239144; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124239144']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124239144, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124239144]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124239144,"title":"Japanese cultural nationalism : at home and in the Asia Pacific","translated_title":"","metadata":{"abstract":"Acknowledgements Introduction PART ONE: JAPANESE CULTURAL NATIONALISM AT HOME 1. 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Some of the key issues dealt with are: the globalization of Hindu nationalism; the ideologica...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... Some of the key issues dealt with are: the globalization of Hindu nationalism; the ideological struggle in East Asia between nationalists and the advocates of a pan-Asian civilization; the repercussions for Asian nations of the recent pan-Asian financial crisis; the rise of neo-IN r ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124239143"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124239143"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124239143; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124239143]").text(description); $(".js-view-count[data-work-id=124239143]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124239143; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124239143']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124239143, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124239143]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124239143,"title":"Nations under siege : globalization and nationalism in Asia","translated_title":"","metadata":{"abstract":"... 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It ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter discusses social anthropological, political, cultural and even aesthetic issues. It deals directly with religious or theological responses to &#39;3/11&#39; as well as other disasters. The chapter then focuses on literary responses to 3/11 and earlier Japanese disasters. In presenting Nagai&#39;s &#39;Catholic response&#39; as a significant part of post-war Japanese culture, Doak argues for a wider, more diverse vision of &#39;Japanese culture&#39; than has often been purveyed by Western Japanology, which tends, for instance, to regard Christianity as somehow &#39;un-Japanese&#39;. Both Roman Rosenbaum and Jeffrey Angles deal with the immediate literary response to the March 2011 disaster, and both find that it yielded an especially rich harvest of poetry. If, for both aesthetic and ethical reasons, writers and artists sometimes seem reluctant to &#39;make cultural capital&#39; out of disaster, politicians rarely exhibit a similar reluctance to &#39;make political capital&#39; out of it. 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