The Dialectics of Well-Being Tim Lomas, Ph.D. Introduction It Is a Real
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Katsushika Hokusai and a Poetics of Nostalgia
ACCESS: CONTEMPORARY ISSUES IN EDUCATION 2015, VOL. 33, NO. 1, 33–46 https://doi.org/10.1080/00131857.2014.964158 Katsushika Hokusai and a Poetics of Nostalgia David Bell College of Education, University of Otago ABSTRACT KEYWORDS This article addresses the activation of aesthetics through the examination of cultural memory, Hokusai, an acute sensitivity to melancholy and time permeating the literary and ukiyo-e, poetic allusion, nostalgia, mono no aware pictorial arts of Japan. In medieval court circles, this sensitivity was activated through a pervasive sense of aware, a poignant reflection on the pathos of things. This sensibility became the motivating force for court verse, and ARTICLE HISTORY through this medium, for the mature projects of the ukiyo-e ‘floating world First published in picture’ artist Katsushika Hokusai. Hokusai reached back to aware sensibilities, Educational Philosophy and Theory, 2015, Vol. 47, No. 6, subjects and conventions in celebrations of the poetic that sustained cultural 579–595 memories resonating classical lyric and pastoral themes. This paper examines how this elegiac sensibility activated Hokusai’s preoccupations with poetic allusion in his late representations of scholar-poets and the unfinished series of Hyakunin isshu uba-ga etoki, ‘One hundred poems, by one hundred poets, explained by the nurse’. It examines four works to explain how their synthesis of the visual and poetic could sustain aware themes and tropes over time to maintain a distinctive sense of this aesthetic sensibility in Japan. Introduction: Mono no aware How can an aesthetic sensibility become an activating force in and through poetic and pictorial amalgams of specific cultural histories and memories? This article examines how the poignant aesthetic sensibility of mono no aware (a ‘sensitivity to the pathos of things’) established a guiding inflection for social engagements of the Heian period (794–1185CE) Fujiwara court in Japan. -
Positive Psychology – Unmitigated Good, and Pessimism As a Categorical Impediment to Wellbeing
E L C I contrasting phenomena were implicitly T conceptualised as negative, positioned as R intrinsically undesirable. So, for example, A optimism tended to be valorised as an Positive psychology – unmitigated good, and pessimism as a categorical impediment to wellbeing. Some scholars did paint a more nuanced the second wave picture; for instance, Seligman (1990, p.292) cautioned that one must be ‘able Tim Lomas delves into the dialectical nuances of flourishing to use pessimism’s keen sense of reality when we need it’. However, in terms of the broader discourse of the field, and its cultural impact, a less nuanced binary t is nearly 20 years since Martin wellbeing – could be brought together message held sway. Seligman used his American and considered collectively. Thus, as While seemingly offering an upbeat IPsychological Association presidential a novel branch of scholarship focused message – linking positive emotions to address to inaugurate the notion of specifically and entirely on ‘the science beneficial outcomes, such as health ‘positive psychology’. The rationale for its and practice of improving wellbeing’ (Fredrickson & Levenson, 1998) – this creation was Seligman’s contention that (Lomas et al., 2015, p.1347), it was valorisation of positivity was problematic, psychology had tended to focus mainly a welcome new addition to the broader for various reasons. Firstly, it often failed on what is wrong with people: on church of psychology. to sufficiently appreciate the contextual dysfunction, disorder and distress. There However, positive psychology was complexity of emotional outcomes. For were of course pockets of scholarship that not without its critics. A prominent instance, ‘excessive’ optimism can be held a candle for human potential and focus of concern was the very notion harmful to wellbeing (e.g. -
Noh Theater and Religion in Medieval Japan
Copyright 2016 Dunja Jelesijevic RITUALS OF THE ENCHANTED WORLD: NOH THEATER AND RELIGION IN MEDIEVAL JAPAN BY DUNJA JELESIJEVIC DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in East Asian Languages and Cultures in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Elizabeth Oyler, Chair Associate Professor Brian Ruppert, Director of Research Associate Professor Alexander Mayer Professor Emeritus Ronald Toby Abstract This study explores of the religious underpinnings of medieval Noh theater and its operating as a form of ritual. As a multifaceted performance art and genre of literature, Noh is understood as having rich and diverse religious influences, but is often studied as a predominantly artistic and literary form that moved away from its religious/ritual origin. This study aims to recapture some of the Noh’s religious aura and reclaim its religious efficacy, by exploring the ways in which the art and performance of Noh contributed to broader religious contexts of medieval Japan. Chapter One, the Introduction, provides the background necessary to establish the context for analyzing a selection of Noh plays which serve as case studies of Noh’s religious and ritual functioning. Historical and cultural context of Noh for this study is set up as a medieval Japanese world view, which is an enchanted world with blurred boundaries between the visible and invisible world, human and non-human, sentient and non-sentient, enlightened and conditioned. The introduction traces the religious and ritual origins of Noh theater, and establishes the characteristics of the genre that make it possible for Noh to be offered up as an alternative to the mainstream ritual, and proposes an analysis of this ritual through dynamic and evolving schemes of ritualization and mythmaking, rather than ritual as a superimposed structure. -
Tiina Rosenberg
Don ’t be Quiet TIINA ROSENBERG , Don’ ,t be Quiet ESSAYS ON FEMINISM AND PERFORMANCE Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance Tiina Rosenberg Published by Stockholm University Press Stockholm University SE-106 91 Stockholm, Sweden www.stockholmuniversitypress.se Text © Tiina Rosenberg 2016 License CC-BY ORCID: Tiina Rosenberg: 0000-0002-7012-2543 Supporting Agency (funding): The Swedish Research Council First published 2016 Cover Illustration: Le nozze di Figaro (W.A. Mozart). Johanna Rudström (Cherubino) and Susanna Stern (Countess Almaviva), Royal Opera, Stockholm, 2015. Photographer: Mats Bäcker. Cover designed by Karl Edqvist, SUP Stockholm Studies in Culture and Aesthetics (Online) ISSN: 2002-3227 ISBN (Paperback): 978-91-7635-023-2 ISBN (PDF): 978-91-7635-020-1 ISBN (EPUB): 978-91-7635-021-8 ISBN (Kindle): 978-91-7635-022-5 DOI: http://dx.doi.org/10.16993/baf This work is licensed under the Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit creativecommons.org/licenses/ by/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This license allows for copying any part of the work for personal and commercial use, providing author attribution is clearly stated. Suggested citation: Rosenberg, Tiina 2016 Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance. Stockholm: Stockholm University Press. DOI: http://dx.doi. org/10.16993/baf. License CC-BY 4.0 To read the free, open access version of this book online, visit http://dx.doi.org/10.16993/baf or scan this QR code with your mobile device. -
ROT-DISSERTATION-2016.Pdf
FROM ANXIETY TO BOREDOM: HEIDEGGER, FREUD, AND THE EMOTIONAL HISTORY OF SECULARIZATION by Avraham Rot A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland October 2016 Abstract While anxiety has been chiefly researched in the field of psychopathology, the phenomenon of boredom has been explored more extensively by positive and existential psychologists, behaviorists, literary critics and historians, sociologists, anthropologists, and philosophers. This disciplinary separation is both an expression of the difference between anxiety and boredom and a hindrance to the systematic study of this difference. This dissertation is an initial assessment of the significance and scope of this structural lacuna, conducted through the study of the intellectual history of the difference between anxiety and boredom. In particular, I show that Freud never worked out a theory of boredom because anxiety had been the implicit presupposition of his psychoanalytic psychology. I also demonstrate that due to the same rationale of mutual exclusion, Heidegger, who discussed both phenomena extensively, never considered them in juxtaposition. To explain the development of Freud’s and Heidegger’s thought, I draw a distinction between anxiety and boredom that is analogous to the distinction between fear and anxiety. While anxiety is fear without the perception of actual danger, boredom is anxiety without the experience of actual fear; and since there is no fear in boredom, there is no guilt in boredom. On the basis of these essential distinctions, I propose the historical hypothesis that there has been a transition from anxiety to boredom in late modernity and that this transition is the emotional aspect of the history of secularization. -
Tokimeku: the Poetics of Marie Kondo's Konmari Method
Flowers, Johnathan. “Tokimeku: The Poetics of Marie Kondo’s KonMari Method.” SPECTRA 7, no. 2 (2020): pp. 5–12. DOI: https://doi.org/10.21061/spectra.v7i2.146 ARTICLE Tokimeku: The Poetics of Marie Kondo’s KonMari Method Johnathan Flowers Worcester State University, US [email protected] Mono no aware is a poetic term developed by Motoori Norinaga to refer to the driving force behind aesthetic works, specifically poetry, and to refer to the human awareness of the qualitative nature of our experience in the world. For Norinaga, the cultivation of mono no aware necessarily leads to heightened sensitivity to both natural and man-made objects. As mono no aware is the natural response of the cultivated heart to the world around us, Norinaga takes it to be fundamental to human experience. Norinaga’s interpretation of the term aware as “to be stirred” bears striking similarities to the concept of “sparking joy” or tokimeku as used by Marie Kondo in her KonMari system. In Japanese, Kondo’s phrase “spark joy” is written as tokimeku, a word whose literal translation means “throb,” “pulsate,” or “beat fast,” as in the heart’s response to anticipation or anxiety. The aim of the present work is to make clear the connection between tokimeku in the KonMari system and Norinaga’s poetics of mono no aware. Specifically, this paper indicates the ways in which the KonMari system functions in line with a tradition of Japanese aesthetics of experience. This philosophy informs Japanese aesthetic practices and is articulated throughout Japanese poetics. This paper places Kondo in conversation with Norinaga’s work on aware and mono no aware towards a conceptualization of the KonMari system as an implement for cultivating a mindful heart. -
The Art of Haiku: Its History Through Poems And
Reviews reviews Selected Haiku, with Essays and Commentary. Part I: 1937–1960, BY +ANEKO 4OHTA 4RANSLATED BY THE +ON .ICHI 4RANSLATION 'ROUP 7INCHESTER 6A 2ED -OON 0RESS PAGES ¼˝ x½˝. 'LOSSY WHITE CARD COVERS PERFECTBOUND )3". 0RICE FROM THE PUBLISHER AT WWWREDMOONPRESSCOM Reviewed by Hiroaki Sato aneko Tôta B WRITES THE KIND OF HAIKU THAT +some of those not in the know — those not familiar with “modern HAIKUv— may find to be clumsy, incompetent, or nothing more than snippets of prose left unfinished. Take the two pieces that the tanka POET )WATA 4ADASHI B exalts as “the masterpieces that FORM THE HIGH PEAKS IN THE HISTORY OF MODERN HAIKUv wankyokushi kashôshi bakushinchi no marathon kareina hakahara join arawani mura nemuri 4HE BOOK UNDER REVIEW GIVES THE NAME AS +ANEKO 4OHTA ON THE GROUND THAT IT IS THE POETS hESTABLISHED STYLE AND THE APPELLATION HE CHOOSES TO USE IN %NGLISH v Kaneko Tohta: Selected Haiku, Part I ) PUT THE TWO WORDS IN QUOTATION MARKS BECAUSE 2ICHARD 'ILBERT THE LEADER of the translation group that produced the book under review, seems to have an odd notion of gendai HAIKU ) EXPECT TO DEAL WITH THE MATTER IN A FUTURE ARTICLE FOR Modern Haiku. )IDA 2Yûta et al., eds., Gendai haiku zenshû )) 4OKYO 2IPPû 3HOBô Modern Haiku 44.1 The first one could easily be a puzzle. Read it simply, without, for ex ample, speculating from the Chinese characters employed what might be meant, and it seems to say, “Curved, burnt, (a or the) marathon at GROUND ZEROv "ECAUSE bakushinchi hGROUND ZERO v STILL MEANS ONLY -
Longing for Decay in Computer Games
“Ruinensehnsucht” - Longing for Decay in Computer Games Mathias Fuchs Centre for Digital Cultures, ICAM Leuphana University/ Germany [email protected] ABSTRACT There is no technical reason and no quality inherent to the medium of computer games that would require corrosion, dust, and ruins. Pixels do not corrode and 3D geometry is not affected by physical decay. Yet if we look at contemporary computer games we find an abundance of ruined buildings, of mould and of all forms of decay of organic matter and inorganic materials. It would be too easy to explain this fact by an attempt to increase realism, because some of these games clearly feature more decay than reality could ever produce. There must be a longing of designers and players to immerse themselves within an environment of disintegrating, decaying objects. The author investigates the longing for decay along four threads that are informed by computer games history, art history, psychoanalytic reasoning and the concept of transmedia megatext. Keywords ruins, digital dust, creative games, computer games history, psychoanalysis, philosophy of games, pathos formula, transmedia megatext. DIGITAL DUST Some of the most interesting of recent computer games celebrate the beauty of ruins and invite us to get immersed into landscapes of ruins from antiquity to space age. The ruins are set in post-nuclear war environments (Metro 2033)1, sites of archaeological excavations and discovery (Tomb Raider)2, technological disaster areas (Fallout3, S.T.A.L.K.E.R.4), medieval environments (Assassins’s Creed)5, industrial wreckage (UnrealTournament)6, mythological places that are known for the buildings they once contained (Ruins)7, or even completely fictional places (Journey)8. -
Happiness Is a Glass Half Empty” Oliver Burkeman1
Borough of Manhattan Community College City University of New York English Department “Happiness Is a Glass Half Empty” Oliver Burkeman1 Be positive, look on the bright side, stay focused on success: so goes our modern mantra. But perhaps the true path to contentment is to learn to be a loser are we maybe just looking for happiness in the wrong way? In an unremarkable business park outside the city of Ann Arbor, in Michigan, stands a poignant memorial to humanity’s shattered dreams. It doesn’t look like that from the outside, though. Even when you get inside – which members of the public rarely do – it takes a few moments for your eyes to adjust to what you’re seeing. It appears to be a vast and haphazardly organized supermarket; along every aisle, grey metal shelves are crammed with thousands of packages of food and household products. There is something unusually cacophonous about the displays, and soon enough you work out the reason: unlike in a real supermarket, there is only one of each item. And you won’t find many of them in a real supermarket anyway: they are failures, products withdrawn from sale after a few weeks or months, because almost nobody wanted to buy them. In the product-design business, the storehouse – operated by a company called GfK Custom Research North America – has acquired a nickname: the Museum of Failed Products. This is consumer capitalism’s graveyard – the shadow side to the relentlessly upbeat, success-focused culture of modern marketing. Or to put it less grandly: it’s almost certainly the only place on the planet where you’ll find Clairol’s A Touch of Yogurt shampoo alongside Gillette’s equally unpopular For Oily Hair Only, a few feet from a now-empty bottle of Pepsi AM Breakfast Cola (born 1989; died 1990). -
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Advances in Social Science, Education and Humanities Research, volume 356 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019) The Image of Japan in Hong Ying's Novels Ting Ye Jinan University Guangzhou, China Abstract—With the advent of globalization, transnational Japanese War of aggression against China launched by Japan writing has become an important feature of writers' writing. in the 20th century has had a profound impact on the Many meaningful factors can be found in the investigation of relations between the two countries. foreign images in the works of writers. Hong Ying is a famous overseas writer of Chinese literature. She has written many Since the Meiji Restoration, Japan has developed rapidly works about Japan, especially the novel Green Sleeves. Under and ranks among the world's powerful countries. The Hong Ying's description, Japan is a cruel aggressor for China. powerful Japan has sprouted the ambition to dominate Asia, Yuji Yamazaki in Green Sleeves is typical Japanese. He is embarked on the path of imperialism, invaded other serious, cultivated and knows a lot about Chinese culture. He countries, and sought profits. In addition, Japan tastes the acts in accordance with Bushidou and is very arrogant towards sweetness of war from the Japan-Russia War and Sino- China. Japanese culture is poetic and wins the favor of Hong Japanese War of 1894-1895, which even inspired Japan's Ying, whether the distinctive Japanese color, sakura (oriental motives for aggression against China. In the 1930s, the cherry), a symbolic symbol of Japan, kimono, or simpleness, undercurrent of severe confrontation between China and Mono no aware aesthetics. -
Keichū, Motoori Norinaga, and Kokugaku in Early Modern Japan
UNIVERSITY OF CALIFORNIA Los Angeles The Jeweled Broom and the Dust of the World: Keichū, Motoori Norinaga, and Kokugaku in Early Modern Japan A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Emi Joanne Foulk 2016 © Copyright by Emi Joanne Foulk 2016 ABSTRACT OF THE DISSERTATION The Jeweled Broom and the Dust of the World: Keichū, Motoori Norinaga, and Kokugaku in Early Modern Japan by Emi Joanne Foulk Doctor of Philosophy in History University of California, Los Angeles, 2016 Professor Herman Ooms, Chair This dissertation seeks to reconsider the eighteenth-century kokugaku scholar Motoori Norinaga’s (1730-1801) conceptions of language, and in doing so also reformulate the manner in which we understand early modern kokugaku and its role in Japanese history. Previous studies have interpreted kokugaku as a linguistically constituted communitarian movement that paved the way for the makings of Japanese national identity. My analysis demonstrates, however, that Norinaga¾by far the most well-known kokugaku thinker¾was more interested in pulling a fundamental ontology out from language than tying a politics of identity into it: grammatical codes, prosodic rhythms, and sounds and their attendant sensations were taken not as tools for interpersonal communication but as themselves visible and/or audible threads in the fabric of the cosmos. Norinaga’s work was thus undergirded by a positive understanding ii of language as ontologically grounded within the cosmos, a framework he borrowed implicitly from the seventeenth-century Shingon monk Keichū (1640-1701) and esoteric Buddhist (mikkyō) theories of language. Through philological investigation into ancient texts, both Norinaga and Keichū believed, the profane dust that clouded (sacred, cosmic) truth could be swept away, as if by a jeweled broom. -
Curriculum Vitae
Susanne Scheibe, Ph.D. 1 Department of Psychology, University of Groningen, Grote Kruisstraat 2/1, 9712TS Groningen, NL Phone: +31-50 363 6316, Fax: +31-50 363 6304. E-mail: [email protected] Web: http://www.rug.nl/staff/s.scheibe , https://www.researchgate.net/profile/Susanne_Scheibe May 2016 CURRICULUM VITAE Professional positions Since 2013 Associate Professor of Organizational Psychology, Department of Psychology, University of Groningen, The Netherlands 2010 – 2013 Assistant Professor of Organizational Psychology, Department of Psychology, University of Groningen, The Netherlands 2007 – 2010 Postdoctoral fellow, Stanford University 2004 – 2007 Postdoctoral fellow, Center for Lifespan Psychology, Max Planck Institute for Human De- velopment, Berlin, Germany Education 2012 Teaching & Learning in Higher Education (Dutch postgraduate certificate; BKO), Universi- ty of Groningen, The Netherlands 2005 Ph.D., Center for Lifespan Psychology, Max Planck Institute for Human Development Berlin and Free University Berlin, Germany 2001 – 2004 Fellow in DFG Graduate Program “Neuropsychiatry and Psychology of Aging”, Berlin 2001 Diploma (equivalent to M.A.), Psychology, Humboldt University Berlin, Germany 1998 – 1999 Academic exchange, University of Toronto, Canada, Undergraduate Psychology Program 1995 – 2001 Undergraduate and graduate program, Psychology, Humboldt University Berlin, Germany Research Interests Aging in work contexts Emotional development in adulthood Emotion regulation Prizes, Grants, and Fellowships 2016 VIDI grant, Nederlands