Traditional Values In In Praise Of Shadows By JunIchir? Tanizaki

While ongoing change became the status quo in late-Tokugawa era Japan the ideals of the samurai—and the respect they receive—endured. And, because samurai could still fall back on the prestige their class represented, members of society still

This leads us to wonder whether Yoshimoto’s work can be seen as traditional or not. Kitchen is often described as a modern Japanese work, but Sanchez’ wording leads us to consider the traditional elements Yoshimoto includes in her work. In Moonlight Shadow, Hitoshi and Satsuki’s love ends with tragedy, as Hitoshi is killed in a fatal car accident. The same goes for Hitoshi’s brother, Hiiragi, whose girlfriend, Yumiko, is killed in the same accident as Hitoshi.

In Holly Wren Spaulding’s essay, “In Defense of Darkness,” her main claim is that we have fallen away from darkness and immersed ourselves in a society of lightness. Furthermore, she claims this has lead humans to lose touch with basic human emotion as well as the sensual and spiritual experience true darkness has to offer. Spaulding makes this claim evident through exceptional use of personal testimony and copious appeals to value.

Although books full of words are more efficient in delivering and describing what the author feels, sometimes pictures can give a deep meaning depending on how they are organized. The Veil by Marjane Satrapi’s is a graphic novel that’s organized in a particular way, to deliver a certain message through the pictures. Marjane includes different sizes and frames that serve what she is thinking and feeling. Choosing certain sizes, frames and colours isn’t arbitrary. As each box increases in size, it means that she wants to emphasize the message behind that box, or show her relation to that particular text. Contrast is also one of the main elements that Marjane uses in her graphic novel. For example, on page five, there is a big picture of

Secrets fill the garden. In Gail Tsukiyama’s novel “The Samurai’s Garden”, she uses metaphors to show the audience the garden and its’ curator in a mysterious light. Tsukiyama’s character Stephen gazes upon Matsu’s garden with wonder and amazement. He compares it to another world, “The garden is a world filled with secrets… Matsu’s garden whispers at you, never shouts; it leads you down a path hoping for more, as if everything is seen, yet hidden” (Samurai 31). Tsukiyama creates another world within the fences of the garden. She integrates the secrets of its’ caretaker into the aura of the garden. The metaphor to another world impacts the reader by allowing the reader to see the mystery and beauty that shrouds it. The cloak of beauty shows

Lightness and darkness is a common theme throughout literature, most writers use it through symbols in their writing. In Poe’s story “Masque of the Red Death” and Hawthorne’s story “Minister’s Black Veil” both portray themes of lightness and darkness using symbolism throughout.

Throughout history artists have used art as a means to reflect the on goings of the society surrounding them. Many times, novels serve as primary sources in the future for students to reflect on past history. Students can successfully use novels as a source of understanding past events. Different sentiments and points of views within novels serve as the information one may use to reflect on these events. Natsume Soseki’s novel Kokoro successfully encapsulates much of what has been discussed in class, parallels with the events in Japan at the time the novel takes place, and serves as a social commentary to describe these events in Japan at the time of the Mejeii Restoration and beyond. Therefore, Kokoro successfully serves as a primary

The French wanted their foods to be appealing to the eyes and wanted it to be decorated to attract the people to eat it, and

In retrospect to our society's reliance on fake light, Paul Bogard argues that pure darkness should be captivated in the article he wrote, “Let there be dark.” He constructs his argument by using rhetorical questions, personal relationship towards darkness, and allusions facing art and history.

While it is difficult to pinpoint the exact time human beings began to consume foods, for millions of years a diverse range of culinary patterns and convivial customs were cultivated. As the human dining habits evolve, food can be seen as a continuous reflection of the different cultures around the world. In fact, “food is perhaps the most distinctive expression of an ethnic group, a culture, or, in modern terms, a nation” (Flandrin, Montanari and Sonnenfeld 1999, p. xvi). The huge wave of globalisation in the past few decades made cultural exchange commonplace, however, indigenous dishes from an alien country may come as cultural shocks to people who are foreign to the certain culture. This essay intends to explain how Asian identity is expressed

In the essentially dual religious system in Japan, ideologies and traditions play a heavy role in the everyday life of the Japanese people. Shintoism and Buddhism intertwine and complement themselves in Japanese culture, despite Buddhism coming in from mainland Asia. A particularly powerful idea from Buddhism is mono no aware, the realization and acknowledgment of the impermanence and its place in the world. This idea that nothing stays the same forever manifests itself heavily in Japanese literature, whether in personal writings or fictional works. Despite spanning hundreds of years, each work was shaped by and include manifestations of mono no aware. I intend to underline and pinpoint instances that mono no aware is influencing these works, and discuss similarities and differences between them. In this paper, I have three works that I will explore, each one corresponding to a different time period before the pre-industrial revolution; The Diary of Lady Murasaki comes from the classical period, Essays in Idleness from the medieval, and the immensely popular play Chushingura from the pre-modern era.

In his 2001 journal article “Ise Shrine and a Modernist Construction of Japanese Tradition” of The Art Bulletin, Jonathan M. Reynolds examines the differing representation of the Ise Shrine through time, emphasizing on the changing cultural significance of the Ise after the second world war. Reynolds discussion of the Ise Shrine centers on its representation in texts and images. The texts and images in which Reynolds analyzes date as early as the 8th century with the Nihon Shoki, and as recent as the 20th century.

They are the ritualization in Japanese culture, women’s implicit expression of love, women’s hierarchy in 18th Japan, and how the landscape of Japan influences the prosperity of Geisha culture.

It is no secret that for centuries, the Japanese woman has been, to most observers, a model of elegance and graceful beauty. A picture of a kimono-clad, modest, and often silent woman has been plastered everywhere, allowing for the upmost passive subjection. If we look deeper into this image of woman, can we tell if this picture is complete? How do these women painted in representative images far in the modern world? The ideal woman in Japan is expected to be both a good wife, and a wise mother. Though these seem like reasonable expectations, there is a much deeper meaning to them that has shown signs of being outdated. During the 1800’s and 1900’s, women were subjected to society’s vision of them, and could not break free for fear of the

Tanizaki’s “In Praise of Shadows” is a short retreat describing about the cross-cultural conflict which occurred as a result of Western design. The learned novelist evaluates and compares every aspect in the design of Japanese architecture. The author interprets that ancient style is well woven with the surroundings and lifestyle and more rational with traditions.