Artykuły w czasopismach na temat „East Asian Aesthetics”
Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: East Asian Aesthetics.
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych artykułów w czasopismach naukowych na temat „East Asian Aesthetics”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj artykuły w czasopismach z różnych dziedzin i twórz odpowiednie bibliografie.
1
Seokdo Jung. "Laozi’s Dao and Establishment of East Asian Painting Aesthetics". Humanities and Art ll, nr 2 (grudzień 2015): 33–48. http://dx.doi.org/10.35442/hna.2015..2.33.
Pełny tekst źródła
2
Nicolaides, Becky M., i James Zarsadiaz. "Design Assimilation in Suburbia". Journal of Urban History 43, nr 2 (3.08.2016): 332–71. http://dx.doi.org/10.1177/0096144215610773.
Pełny tekst źródłaStreszczenie:
Ethnic suburban settlement has shaped suburban landscapes in contrasting ways. On one end are ethnoburbs, where ethnic groups used spatial politics to assert their rights of ethnic expression in the landscape. On the other—less noticed—end are places where ethnic settlers arrived en masse, and their presence was scarcely visible. This article focuses on the latter, towns where ethnic suburbanites consented to existing design mores—what we term design assimilation. Using case studies from Asian American suburbs of the west and east San Gabriel Valley, we explore the history of places where Anglo design aesthetics persisted in the midst of profound demographic change. Multiple factors created and protected these landscapes, including stringent regulatory cultures of these suburbs, white political action, accommodations by builders, and Asian American consent. Asian suburbanites supported these landscapes for aesthetic, nostalgic, political, and economic reasons, including the belief that American landscape aesthetics conveyed a social distinction that positioned them above those around them—including other Asians in the ethnoburbs. Our work shows how suburban advantage has been reinforced by new waves of immigrant suburbanites, in ways that reflect the inequities and spatial expression of globalization itself. This work offers a new perspective on immigrant suburbanization and its interface with suburban “landscapes of privilege.”
3
Kim, Eun-Young. "The potential value of East Asian aesthetics for contemporary art". Journal of Art and Culture Studies 11 (31.12.2017): 121–38. http://dx.doi.org/10.18707/jacs.2017.12.11.121.
Pełny tekst źródła
4
Li, Xiaofan Amy. "East Asian Francophone Writers and Racialized Aesthetics? Gao Xingjian and Aki Shimazaki". L'Esprit Créateur 59, nr 2 (2019): 134–49. http://dx.doi.org/10.1353/esp.2019.0021.
Pełny tekst źródła
5
Hetrick, Jay. "Deleuze and the Kyoto School II". Asian Studies 11, nr 1 (10.01.2023): 139–80. http://dx.doi.org/10.4312/as.2023.11.1.139-180.
Pełny tekst źródłaStreszczenie:
The aim of this paper is to bring Gilles Deleuze and the Kyoto School into an imaginary conversation around the idea of philosophy as a way of life, or what I call ethico-aesthetics. I first show how ethico-aesthetics in the Kyoto School modernizes the traditional notion of geidō, or ways of art, through the language of continental philosophy. Even though the discourse they construct in this respect remains less rigorous than that of the other domains of philosophy with which they engage, the ethico-aesthetic concepts of Nishida Kitarō, Nishitani Keiji, and Ōhashi Ryōsuke provide a starting point from which we might begin to piece together Deleuze’s seemingly random, but persistent and ultimately significant references to East Asian art and philosophy. I argue that Deleuze’s references to the Zen sage and poet-painter—in addition to his uses of the Stoics, Spinoza, and Nietzsche—are necessary to fully understand the immanent goal of his ethico-aesthetics. I conclude by demonstrating that, although there is no evidence that Deleuze was familiar with the Kyoto School, he unwittingly offers more complete and contemporary solutions to the ethico-aesthetic issues presented by some of its key thinkers.
6
Frisch, Simon. "The Aesthetics of Flow and Cut in the Way of Film: Towards Transnational Transfers of East Asian Concepts to Western Film Theory". Arts 8, nr 3 (16.09.2019): 119. http://dx.doi.org/10.3390/arts8030119.
Pełny tekst źródłaStreszczenie:
The general concepts in theorising the aesthetics of film are still rooted in occidental traditions. Thus, thinking about film is dominated by Western terms and aesthetic paradigms—such as “pieces of work”, the representation of reality or regarding the arts as an act of communication. From such an angle, it is difficult to describe different characteristics of the cinematic image, for example, its ephemeral character. In contrast to occidental thinking, the cultural traditions of East Asia are based on the concept of the way (dō or dao), which allow for the description of aesthetics of transitions and transformations. Inspired by the concept of kire-tsuzuki, as developed by the Japanese–German philosopher Ryōsuke Ōhashi, I shall, in this paper, describe some alternative ways of understanding appearance and occurrence in relation to the cinematic picture.
7
Seol, Kyeong-hee. "Aesthetic Consideration of Hyangpa Lee Juhong’s Calligraphy and Painting". Korean Society of Calligraphy 43 (28.09.2023): 159–96. http://dx.doi.org/10.19077/tsoc.2023.43.7.
Pełny tekst źródłaStreszczenie:
Lee Juhong(1906-1987) was a writer, educator, and artist, born in Hapcheon, Gyeongsangnam-do, and worked in Busan. This paper is a study of his calligraphy, poetry, and painting. He experienced various hardships during his life of 80 years, including Japanese rule and the Korean War. Therefore, he expressed human agony and the fundamental essence of his difficult life through various genres of art, including literature. He led students to culture and art during his entire life as a professor of the Department of Korean Language and Literature at the National Fisheries University of Busan, integrated by Pukyong National University in Busan afterward. In addition, he was a comprehensive artist who engaged in artistic activities in a variety of genres, including poetry, novels, essays, plays, and criticism, as well as children's poems, fairy tales, juvenile fiction, calligraphy and painting, folk paintings, comics, book designing and binding, and theater directing. He also wrote collections of literary works and translations that amount to about 300 volumes.
I analyzed and examined Hyangpa Lee Juhong’s calligraphy and painting by classifying them into literary communication aesthetics of calligraphy and painting and authentic East Asian aesthetics of calligraphy. The simple beauty, humorous beauty, and natural beauty abstracted from the literary communication aesthetics of calligraphy and painting help the aesthetic emotions organically linked in Hyangpa’s poetry, painting, and calligraphy to communicate through the integrated empathy of creation and appreciation. Therefore, I confirmed that simple, humorous, and nature-friendly works become communication aesthetics that heals complex minds.
I summarized the authentic East Asian aesthetics of calligraphy into five beauties.: The first is the simple and gentle beauty that looks smiling. The second is the beauty that to have and to lack generate each other, and the third is the beauty that expresses a neat yet majestic aura with flowing strokes. The next is the beauty that is plain but not sick of, and the last is the magnanimous beauty while remaining faithful to nature without restraint. He used diverse genres of literature and various fields of art. He attempted many experimental things in calligraphy, so we could evaluate that he created a new style and method of calligraphy. In addition, the humanistic, literary, and aesthetic sentiments accompanying Confucius's humanism and Zhuangzi's vital freedom at the bottom of Hyangpa art formed his view of literature, art, and life. Thus, they elaborately emerged in Hyangpa’s calligraphy and painting.
8
Makokha, J. K. S. "Afrasian Aesthetics in M.G. Vassanji’s The Magic of Saida". Matatu 52, nr 1 (22.11.2021): 176–87. http://dx.doi.org/10.1163/18757421-05201002.
Pełny tekst źródłaStreszczenie:
Abstract The Magic of Saida by M.G. Vassanji (2012) centres on the central figure of the novel’s story, Kamal. He is the son of an African mother and an Asian (read Indian) father, who grows up in Tanzania and then relocates to Canada where he becomes an established doctor. The novel tackles themes of African-Asian (read Afrasian) racial identity, belonging, and the effects of the past on the present. Kamal identifies mainly as an African when residing with his mother in Kilwa during his childhood; he is then urged to embrace an Indian identity when he is sent to live with his uncle in Dar es Salaam in his early adolescence. Decades after moving to Edmonton, Canada, Kamal decides to come back to Kilwa. This paper explores the tension and ambiguity in Kamal’s identity by analyzing the way he defines himself—or is defined—in Kilwa and Dar es Salaam, and then investigating, through an eclectic psychochriticism lens, how that in turn affects him as he ages and drives him to return in seach of what it means to be both an Asian and an African in the context of East African cultural landscapes.
9
Shi, Emma. "A Modern Critique of Orientalism in Contemporary Visual Art". Journal of Humanities and Education Development 5, nr 6 (2023): 65–72. http://dx.doi.org/10.22161/jhed.5.6.8.
Pełny tekst źródłaStreszczenie:
Orientalism is historically understood as a cultural phenomenon of 18th and 19th century Europe, when Western artists emulated Asian culture and aesthetics in their work. In 1979, Edward Said’s Orientalism first introduced a post-colonial critical analysis to the European, Western portrayal of Eastern cultures in the Middle East. In spite of the perceived progress since the publication of Said’s book, the underlying principles of Said’s Orientalism critique are still widely applicable to modern visual art in 2023. This study is a fresh look at the persistence of Orientalism in contemporary Asian art. Research will show that Orientalism is not just a historical phenomenon, but an ongoing unsavory, and harmful reality in today’s art world. Using data and examples collected from contemporary sources, I will examine and analyze the artwork of visual artists and art institutions in Western countries that reflect Orientalism in their portrayal of Chinese and East Asian cultures.
10
Wenning, Mario. "Hut Existence or Urban Dwelling?" Asian Studies 11, nr 1 (10.01.2023): 51–68. http://dx.doi.org/10.4312/as.2023.11.1.51-68.
Pełny tekst źródłaStreszczenie:
Heidegger’s “Creative Landscapes: Why do we remain in the provinces?” and “Dialogue on Language” reveal the importance of rootedness for his existentialism. The article engages with the provinciality of Heidegger’s thought by juxtaposing his solitary “hut existence” to Buddhist compassion and the urban aesthetics of Kuki Shūzō. Turning to the East allows for a deprovincialization of Heideggerian themes. The rich philosophical legacy of reflecting on intercultural modernization and urbanization processes in East Asian philosophical traditions presents a genuine opportunity to rethink what it means to dwell today.
11
Rupprecht, Caroline. "Stahlmann’s “Asian Eyes”: Jewish Identity in Peter Weiss’s The Aesthetics of Resistance, Volume 3". New German Critique 49, nr 3 (1.11.2022): 187–214. http://dx.doi.org/10.1215/0094033x-9965388.
Pełny tekst źródłaStreszczenie:
This article focuses on the fictionalized character of the Soviet spy Richard Stahlmann, who was attributed with “Asian eyes” by Peter Weiss, in volume 3 of The Aesthetics of Resistance. In a passage that describes Stahlmann’s visit to Angkor Wat, the character’s identity crisis is precipitated by his self-Orientalizing gaze, leading him to doubt his commitment to communism. The article relates this to Weiss’s own biographical experience as a left-wing intellectual who belatedly discovered that his father was Jewish and had kept this fact a secret to evade the Nazis. However, antisemitism continued in the antifascist, anticapitalist context of both East and West Germany, as shown in The Aesthetics: Jews were portrayed as duplicitous and accused of treason, as “spies.” Weiss himself experienced leftist antisemitism and took this narrative detour to Southeast Asia to address this problem through the fictive figure of Stahlmann.
12
Son, Mingyeong. "Negating Nationalist Frameworks: Aesthetics of Unsuk Chin's Musical Individualism in Twenty-First-Century East Asian Composition". Asian Music 53, nr 1 (2022): 127–52. http://dx.doi.org/10.1353/amu.2022.0005.
Pełny tekst źródła
13
Llarena Ascanio, María Jesús. "Refugee Worldbuilding in Broken Times: (Re)Creating Self-Location in South(east) Asian Canadian Narratives". Canada and Beyond: A Journal of Canadian Literary and Cultural Studies 13 (29.02.2024): 69–85. http://dx.doi.org/10.14201/candb.v13i69-85.
Pełny tekst źródłaStreszczenie:
This paper is focused on interpreting the way in which twenty-first-century refugee writing in Canada is currently approached critically and theoretically. It proposes new reading strategies that contest the influence of nation-state powers over literary production deployed with an aesthetics of cosmopolitanism. In particular, this article takes up refugee writing by Kim Thúy and Sharon Bala, respectively, in order to show how its search for a “Good Life” leads to the transformation of the characters’ subjectivity. This transformation responds to an epistemological shift which confronts issues of Western complicity in foreign human rights abuses and poses questions about alternative epistemologies to Eurocentric notions of healing and trauma recovery in the aftermath of mass violence.
14
Indriyanto, Kristiawan. "ARTICULATING THE MARGINALIZED VOICES: SYMBOLISM IN AFRICAN AMERICAN, HISPANIC, AND ASIAN AMERICAN LITERATURE". British (Jurnal Bahasa dan Sastra Inggris) 9, nr 2 (26.09.2020): 20. http://dx.doi.org/10.31314/british.9.2.20-36.2020.
Pełny tekst źródłaStreszczenie:
The present study contextualizes how symbolism is employed by writers of ethnically minority in the United States as an avenue of their agency and criticism against the dominant white perspective. The history of American minorities is marred with legacy of racial discrimination and segregation which highlights the inequality of race. Literature as a cultural production captures the experiences of the marginalized and the use of symbolism is intended to transform themes into the field of aesthetics. This study is a qualitative research which is conducted through the post-nationalist American Studies framework in order to focus on the minorities’ experience instead of the Anglo-Saxon outlook. The object of the study is three playscripts written from authors from Mexican-American, African-American and Asian-American to emphasize how discrimination is faced by multi-ethnic. The finding suggests how symbolism in these literary works intends to counter the stereotypical representation of Mexican-American, aligns with the passive resistance of the Civil Right Movement and subvert binary opposition of East and West which exoticizing the East. Keywords : minority literature in the U.S , symbolism, post-national
15
Baniyamin, Nurhaya, i Shamzani Affendy Mohd Din. "Rethinking Bamboo: An Asian Eco-Interior Design Language with Ecological Branding in East Asia". Cultural Syndrome 1, nr 2 (11.02.2020): 79–95. http://dx.doi.org/10.30998/cs.v1i2.229.
Pełny tekst źródłaStreszczenie:
This article takes a look and survey of the approaches in interior design possibilities and expressions in applying the use and particular structural qualities of bamboo. This particular material has gained much interest due to its quality of being rapidly replenishable, thus allowing it as an alternative to more depleting resources such as timber and other materials. The paper focuses on the higher applications of bamboo and the recent corporate space design and its typological function gain from the application of bamboo as an interior design strategy and aesthetics. With the move by the United Nation on having 17th initiatives under Sustainable Development Goals (SGDs), this study will discuss further how bamboo could be improving the quality of life in the countries with the tropical climate where bamboo vastly grown and reliable as one sustainable material in construction of structure outdoor, indoor and also to be used widely in arts & craftsmanship in the region.
16
Zhao, Xinyu, i Crystal Abidin. "The “Fox Eye” Challenge Trend: Anti-Racism Work, Platform Affordances, and the Vernacular of Gesticular Activism on TikTok". Social Media + Society 9, nr 1 (styczeń 2023): 205630512311575. http://dx.doi.org/10.1177/20563051231157590.
Pełny tekst źródłaStreszczenie:
This article takes the “Fox Eye” challenge that trended on social media in 2020 as a case study in anti-racism activism by (East) Asian users on TikTok. The “Fox Eye” challenge was a trend in which both celebrities and ordinary users—often predominantly White women—posted photos and short videos on how to wear specific styles of make-up to achieve almond-shaped eyes or “fox eyes.” This was often accompanied with a “migraine pose” where a user pushes their index and middle fingers up against the temples on both sides of their head to “lift” the corners of their upper eyelids, and was colloquially referred to as a “Chinese” or “oriental” look. In response, (East) Asian users on TikTok called out the historically racist undertones of this seemingly superficial trend, using the features and affordances of the platform to produce everyday, nonheroic forms of digital activism, as an act of civic engagement and activist campaigning. Building on the scholarship on digital activism, we consider how TikTok has emerged as an alternative activist space for young people, specifically as it services users as a video production and sharing app. We specifically focus on the audiovisual aesthetics of the TikTok narratives in the counter-Fox Eye trend campaign, wherein the strategic and templatable deployments of vernacular TikTok aesthetics—curated image selections, creative uses of sound and audio memes, specific renders of visual filters and effects—play a central role in giving meaning to the online activist narratives created. This has given rise to platformed activism in the TikTok vernacular that we term “gesticular activism,” which focuses on the generation of visibility and virality as awareness-building and consciousness-raising tactics.
17
Jahn Kassim, Puteri Shireen, Noor Hanita Abdul Majid, Harlina Md Sharif i Tengku Anis Qarihah Raja Abdul Kadir. "Hybrid Aesthetics Classification in Malay Neo-Classicality Reinventing Identity Through Aristocratic Structures". Asia Proceedings of Social Sciences 1, nr 4 (14.11.2018): 71–75. http://dx.doi.org/10.31580/apss.v1i4.494.
Pełny tekst źródłaStreszczenie:
South East Asian architecture identity in urban centres has been generally focused on either timber vernacular identity or large masonry building. The local agenda is increasingly crucial amidst the importance of tourism and city-branding which necessitate the enculturation of urbanism within an overall resistance to extensive globalisation. Traditional public typologies such as palaces and mosques in Asia hold the promise of resources that can add place-branding and identity to towns and cities, while at the same time a high resource for new forms and patterns. Through an extensive morphological and evolutionary mapping of such typologies, the aim is to develop a classification that can define stylistic categories and aesthetic predispositions, such that these classifications can be used to manage, market and enhance such historical narrative of towns and contribute to identity-making in the urban-scape. Throughout the Asian region, particularly in nations previously under Colonisation, there is a common resource of public typologies which have not been identified in terms of early stylistic changes and nuances that would contribute towards heightening of Asia’s common heritage and increasing awareness of such hybrid forms. These, if classified and defined, can consolidate towards the continuing agendas of identity-making in cities; including the management of preservation and conservation actions and policies. Many of these structures have been neglected as they are either seen as vernacular or part of a Colonial narrative and imprint. Many of these individual heritage preservation efforts has been the initiative of their local sites and communities. The present privileging of national agendas and interest over regional collective action is not in the interest of awareness and action. In the past, national barriers have actually amplified the problem and reduced the potential of asserting the global and regional significance of such structures.
18
Fang, Ge, Yuxin Fu i Linqi Peng. "Wabi-sabi Style: the Collision of the East and West, the Combination of the Fashion and the Nature". Journal of Education, Humanities and Social Sciences 8 (7.02.2023): 2499–505. http://dx.doi.org/10.54097/ehss.v8i.5019.
Pełny tekst źródłaStreszczenie:
In the past fifty years, Japanese fashion as one of the most prosperous Asian fashions has become a legend in the world fashion field through its special oriental design that breaks the fashion aesthetics with the West as the mainstream in the past. In recent years, wabi-sabi style has become a new fashion trend. As sustainable fashion is advocated by more and more people, the ecological concept wabi-sabi aesthetic holds also accords with the eco-fashion tendency. This paper aims to study the wabi-sabi style in the fashion field, which includes its power to collide with the fashion world dominated by the West, and its ecological function. First of all, this paper compares the aesthetic, religious, and women's fashion history of the wabi-sabi style and the western style. Then, it investigates the fashion collision between the East and the West in terms of design concepts and analyzes the inspiration for the wabi-sabi fashion style. What is more, this paper also integrates the wabi-sabi style and eco-fashion to analyze its positive impact on the environment. Ultimately, this study suggests that although the wabi-sabi style has a minimal influence in the fashion field, it will have a promising future for its sustainability and the comfort it renders to the secular life. The result helps to promote the wabi-sabi style, making more people know about this style and think deeply about their attitude to their lives, and grabbing more attention to wabi-sabi fashion for its environmentally friendly function.
19
Mello, Cecília. "Phantasmagorical realism in Memoria (Apichatpong Weerasethakul 2021)". Moving Image Review & Art Journal (MIRAJ), The 12, nr 2 (1.12.2023): 171–88. http://dx.doi.org/10.1386/miraj_00115_1.
Pełny tekst źródłaStreszczenie:
This article proposes a close analysis of the film Memoria by Apichatpong Weerasethakul (2021). It begins by situating the film within a broader trend in contemporary East/South East Asian and Latin American cinemas, which incorporates elements of the phantasmagorical into an aesthetics of realism. The combination of these seemingly contradictory concepts gives rise to a sophisticated interplay of temporalities. This interplay comprises the present phenomenological reality, layers of the past and the realm of memory associated with posthumous presences, and the unusual occurrences that may belong to the future. I refer to this phenomenon as ‘phantasmagorical realism’, a recurring theme in Weerasethakul’s cinema. This concept is partly influenced by non-European philosophies and belief systems, such as Thai Buddhism and Animism. In Memoria, this is further accentuated by intermedial connections with Latin American magical realism and Chinese classical literature, both of which are also influenced by non-European philosophies and belief systems, including Amerindian Perspectivism and Daoism.
20
Lee,Min-Hong. "A Study on Implication and Aesthetics of East Asian Royal Ritual Dancing based on Theory of Rite and Music". DONG-BANG KOREAN CHINESE LIEARATURE ll, nr 68 (wrzesień 2016): 241–66. http://dx.doi.org/10.17293/dbkcls.2016..68.241.
Pełny tekst źródła
21
MOHAMMADI, Abbas. "Aesthetics of Color in Afghan cinema". AVANCA | CINEMA, nr 14 (5.01.2024): 196–204. http://dx.doi.org/10.37390/avancacinema.2023.a493.
Pełny tekst źródłaStreszczenie:
In the world of existence, everything takes its existence to be visible from the light. Light gives color and beauty to objects and creatures. Color gives them an expressive profile. When objects have color, they are seen better and the audience is more attracted to them. In many cases, manufacturers use colors to attract their buyers so that they can attract them to that product.This issue also exists in the cinema. Since the beginning of the cinema until today, all filmmakers have been trying to create a dream space for their audience so that they can convey their desired message to the audience in that space. Therefore, in different eras, new technologies entered the visual space of cinema. Color was one of the effects that entered the silver screen and changed the world of cinema. Color is like spice in food. Just as spice gives food lust, color gives soul and feeling to the image. Today, many filmmakers, apart from feeling and attractiveness, give meaning to the image through color. Because the image is a visual medium, the filmmaker can use the psychological states of colors to induce certain feelings of the scene and story to his audience.In the western world, the use of color and sense of color in the scene has become a common category and all filmmakers use it well, but this case has not grown much in the cinema of Central Asia, especially in the Middle East countries. In countries like Iran and Afghanistan, they cannot use color properly because many filmmakers in these countries do not know color properly, and this lack of knowledge about color in many cases makes them unable to use color correctly and have amazing effects. have it on the audience and convey the message to the audience.In many Central Asian films, the absence of color psychology in the films is clearly understandable. Few filmmakers like Asghar Farhadi in Iran try to use color correctly. But in Afghanistan, it can be said that there is no filmmaking that can use color in the right way. But in Indian cinema, they use color in an exaggerated manner, of course, it should be said that part of this exaggeration is due to the type of Indian culture that they are more interested in happy colors and in their country they have a special festival called the festival of colors. But in European and American cinema, color is used to convey the feeling of the scene and story. For example, in the movie Avatar, blue color can be seen in most of the film space. And it evokes a special feeling towards the scenes of the movie, or like Stanley Kubrick who uses colors with a very special skill in the movie «Eyes Completely Closed».Such scientific and meaningful uses are not seen in any of the Middle East films, especially in Iran and Afghanistan. In many cases, it can be attributed to the low level of study and understanding of color and the scientific concepts of color in cinema by Afghan filmmakers.
22
Li, Lan A. "Numbing Aesthetics: Taste and Tempers of Peppercorn / Mountain Pepper / Sanshō". Gastronomica 20, nr 4 (2020): 64–74. http://dx.doi.org/10.1525/gfc.2020.20.4.64.
Pełny tekst źródłaStreszczenie:
This article explores a cultural history of peppercorn and its famous characterization as a “numbing spice.” It investigates how the quality of “numbing spice” extended from East Asian cosmologies that engaged with peppercorn, also known as mountain pepper or sanshō 山椒, as a medical, literary, and culinary object. Medieval and early modern encyclopedias in China described how the plant's vivid colors reflected cosmological relationships that promised better health and eternal youth. The plant's desirability represented what I call “numbing aesthetics,” in that its taste was directly tied to its appearance and utility. When burned, boiled, or crushed, forms of peppercorn could treat hemorrhages, hair loss, swollen scrotums, and toothaches. Beautiful peppers were more effective; ugly peppers were less effective. These many types of plants had many kinds of names with origin stories that derived from young girls, young couples, pigs, and frogs. As a social metaphor, pepper dust became a popular metaphor for describing confined concubines. This article later argues that these qualities fell away when biologists attempted to reduce the plant into its active molecular components in the twentieth century. Tokyo-based chemists imperfectly distilled numbing juices from the pepper's bark and fruit to define numbness as a single unit of flavor, even when numbness was not a classical kind of flavor and more closely resembled tingling vibrations. But by becoming a quasi-category of flavor, the molecularization of peppercorn would diminish its long history of cosmological associations that were gendered, practiced, and otherworldly.
23
Wei, Yuxin. "An analysis of the use of sound in Iwai Shunji's film ‘Love Letter’". Frontiers in Humanities and Social Sciences 4, nr 3 (28.03.2024): 135–40. http://dx.doi.org/10.54691/0dm1th78.
Pełny tekst źródłaStreszczenie:
Iwai Shunji, a Japanese filmmaker, is responsible for directing the film "Love Letter," which is considered an outstanding example of a pure love picture from East Asia. The film is lauded for its sincere and uncomplicated approach to the narrative, its new and breathtaking camera images, and its delicate and gentle emotional expressions. The sensitive depiction of feelings from the viewpoint of the female protagonist and the aesthetics of materialism demonstrate the unadulterated emotions of East Asian love in a manner that is both new and uncluttered. The concept of "love without knowing where it comes from," which is sometimes believed to be the epitome of a crush, is shown as the emotional output of the characters in this movie. This article will investigate the qualities and benefits of the use of sound in Love Letter, directed by Iwai Shunji, in terms of the relevance of the study, the introduction to the film's plot, and the use of sound. Specifically, the article will focus on the characteristics and advantages of the use of sound.
24
Oh, Juri. "The East Asian Aesthetics and Ontology in Jo Ji-hun’s Poetry: Focused on the Influence of Hong Zicheng’s Vegetable Roots Discourse". Journal of East-West Comparative Literature 53 (30.09.2020): 247–80. http://dx.doi.org/10.29324/jewcl.2020.9.53.247.
Pełny tekst źródła
25
Yunxi, Yang, i Chow Ow Wei. "Study on 24 Jieling Drums as Urban Cultural Landscape in Malaysia". ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (9.12.2021): 47–64. http://dx.doi.org/10.30819/aemr.8-6.
Pełny tekst źródłaStreszczenie:
The 24 solar terms, a knowledge system incorporated in the East Asian lunisolar calendar, reflect a typical agricultural life shaped by the astronomical and phenological nature in ancient China. The UNESCO’s Intangible Cultural Heritage embodies this Chinese tradition and culture. It is also commonly observed among Chinese diasporas in other parts of the world. Since 1988 when Tan Chai Puan and Tan Hooi Song established 24 Jieling Drums (二十四节令鼓) in Johor Bahru, Malaysia by exploring this Chinese traditional heritage, artistic performances of this vibrant music genre have effectively transmitted drumming aesthetics in Malaysian urban landscape into the Chinese cultural sphere for over three decades. This study explores a characterised link between this millennia-old Chinese cultural heritage and 24 Jieling Drums as an urban cultural landscape in Malaysia, and discusses several issues on the cultural elements applied in a diversified land through the narrative.
26
ARFARA, KATIA. "Unlearning History: Mark Teh and the Spectres of Baling". Theatre Research International 47, nr 1 (18.02.2022): 63–78. http://dx.doi.org/10.1017/s030788332100050x.
Pełny tekst źródłaStreszczenie:
Held in December 1955, the Baling talks represented a unique attempt to end the Malayan emergency through a negotiated peace between the British colonial government and the Malayan Communist Party, but it also marked the beginning of the Cold War in Asia. This paper focuses on Mark Teh's long-term investigations, as a researcher and theatre director for the Five Arts Centre in Kuala Lumpur, into this historically significant Cold War event and its representation. Teh's performance Baling is examined as an exemplary collaborative project that expands Western definitions of the documentary theatre, while highlighting the continuing efforts of South East Asian artists to contest cultural regionalism and colonial knowledge systems. Drawing on Brechtian aesthetics and postcolonial theory, Teh appropriates diverse forms of politically engaged art in order to question the role of history and the archive in the solidification of nationalist ideologies and identity binaries in the post-war era.
27
Wielander, Gerda, i Heather Inwood. "An Issue on Identities and Art". British Journal of Chinese Studies 11 (29.06.2021): iv—vi. http://dx.doi.org/10.51661/bjocs.v11i0.161.
Pełny tekst źródłaStreszczenie:
This issue falls into two thematic sections, one on the politics of Chinese identities, the other on art and collections. The first part deals with possibly the most pertinent topic in Chinese studies at present, and that is the question of Chinese identity, how it relates to China in the narrow sense of the PRC on the one hand and to alternative identity categories on the other. The question is of particular pertinence in the context of the surge of racism against Chinese and other East and Southeast Asian communities since the start of the Covid-19 pandemic in the UK and across the world. We alert you to our call for papers on Chinese Identity in an Age of Anti-Asian Racism and #StopAsianHate with a deadline of 15 August. The four articles engaging with the question of identity in this issue address the problematic in different timeframes and with different conceptualisations. The second half of this issue features three articles which each deal with differing aspects of art, aesthetics, and media in the contemporary PRC; it includes the prize-winning essay of the 2020 Early Career Researcher Prize by Angela Becher. We conclude with an elegy on a Hui Muslim mosque.
Image @ Zhang Xiaotao
28
Zheng, Zhifang, Yongsheng Hao, Junfeiyang Yin, Xiaoxuan Lei, Biao Cheng i Wenhua Huang. "Autogenous Fat Transplantation and Botulinum Toxin Injection Into the Masseter Muscle to Create an Ideal Oval Face". Aesthetic Surgery Journal 41, nr 6 (12.04.2021): NP579—NP588. http://dx.doi.org/10.1093/asj/sjaa324.
Pełny tekst źródłaStreszczenie:
Abstract Background East Asian faces vary in shape but only oval faces seem to be considered attractive. Many patients with wide faces seek removal of part of the mandibular angle and/or zygoma to achieve an ideal facial contour, but the procedure is high risk and the recovery period is relatively protracted. Objectives We sought to achieve ideal facial contours through the use of autologous fat grafting (AFG) combined with masseter botulinum toxin (BTX) injection for patients with wide faces and masseter hypertrophy. Methods Fourteen patients with wide faces underwent AFG of the forehead, temporal region, cheeks, zygomatic body, nose, nasolabial fold, tear trough, and chin; and BTX injection into the masseter muscles. Each patient was photographed more than 6 months after the operation. The pre- and postoperative ratios pertaining to the facial aesthetics of the face were calculated. The Hollowness Severity Rating Scale (HSRS) and Ricketts’s E-line were used to evaluate the photographs. Patient satisfaction was also investigated. Results All patients received AFG and 1 to 3 BTX injections. The face length:bizygomatic breadth, bigonial breadth:bizygomatic breadth, and lower-face height:middle-face height ratios improved greatly after treatment. The mean HSRS score decreased from 2.214 preoperatively to 1.071 postoperatively. The chin and nose became more prominent than before. Facial swelling persisted for an average of 11.929 days. All patients were satisfied with the treatment outcome. Conclusions A combination of AFG and BTX injection was able to achieve an ideal oval face in East Asian patients with wide faces and masseter hypertrophy, with very few complications. Recovery was rapid and patient satisfaction was high. Level of Evidence: 4
29
Chow, Pei-Sze, Anne Marit Waade i Robert A. Saunders. "Geopolitical Television Drama Within and Beyond the Nordic Region". Nordicom Review 41, s1 (10.09.2020): 11–27. http://dx.doi.org/10.2478/nor-2020-0013.
Pełny tekst źródłaStreszczenie:
AbstractThis article presents a framework for thinking about the intersections between geopolitics and Northern European television drama by examining the contemporary Nordic Noir genre of crime drama. Nordic Noir features not only the double plot that combines sociopolitical critique with crime drama, but also a third “gaze” that engages aesthetics and territorial features that further individual series’ geopolitical critique. Nordic Noir has become especially attuned to contemporary geopolitical issues specific to its setting (climate change, East-West rivalries, etc.), through which viewers engage with region-specific geopolitical codes and visions. However, what happens when Nordic geopolitical television drama series are exported and transculturally adapted to different geopolitical and cultural realities? By examining the Southeast Asian localisation of The Bridge (Viu/HBO Asia, 2018–) that transforms Nordic Noir into “tropical noir”, this article critically reflects on the geopolitical power and societal engagement of the Nordic Noir template both within and beyond the Nordic region.
30
Savelli, Dany. "The ornament of the 1870s. In Search of original Russian Art (Victor Butovsky, Vladimir Stasov and Eugene Viollet-le-Duc)". Literary Fact, nr 1 (31) (2024): 187–216. http://dx.doi.org/10.22455/2541-8297-2024-31-187-216.
Pełny tekst źródłaStreszczenie:
Before being denounced as a “crime,” ornamentation held a prominent place within debates that focused more on national identity than aesthetics. The present article revisits the controversy that took place around ornamentation as an expression of the national in the 1870s between the director of the Stroganov School, Victor Butovsky, and the art critic Vladimir Stasov. Shocked by the latter’s thesis, suggesting that Russian peasant embroideries had Asian origins, Butovsky attempted to counter by suddenly attributing considerable importance to Byzantine influence on Russian art, which he had previously denied. Moreover, he invited Eugène Viollet-Le-Duc to join this debate by commissioning a work from him. However, in “L’Art russe” (“Russian Art”), published in Paris in 1877 and translated into Russian in 1879, the famous French architect, in turn, defends the thesis of the Asian origin of Russian ornamentation. But if Butovski still raves about the book, it is because Viollet-Le-Duc asserts that the Russians drew their artistic originality from the most prestigious of the East, India; doing so, he endows the Russians with an Aryan genealogy that allows them to join the great European family. On his part, Stasov, concerned with a scientific approach that has led him to rethink Russia’s relationship with Asia completely, gives a mixed reception to the work, as he perfectly perceives its weaknesses.
31
Booth, Anne, W. L. Korthals Altes, Wim Doel, Robert Cribb, C. D. Grijns, Kingsley Bolton, David Henley i in. "Book Reviews". Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 149, nr 2 (1993): 374–99. http://dx.doi.org/10.1163/22134379-90003134.
Pełny tekst źródłaStreszczenie:
- Anne Booth, W.L. Korthals Altes, Changing economy in Indonesia, Amsterdam: Royal Tropical Institute (General trade statistics, 1822-1949; volume 12a). - Wim van den Doel, Robert Cribb, Historical dictionary of Indonesia. Metuchen, N.J., & London: The Scarecrow Press, 1992. - C.D. Grijns, Kingsley Bolton, Sociolinguistics today; International perspectives. London and New York: Routledge, 1992, 383 pp., Helen Kwok (eds.) - David Henley, Ole Bruun, Asian perceptions of nature: Papers presented at a Workshop, NIAS, Copenhagen, Denmark, October 1991. Copenhagen: Nordic Institute of Asian studies (Nordic Proceedings in Asian studies No. 3), 1992, 261 pp., Arne Kalland (eds.) - Ward Keeler, Jonathon Falla, True love and Bartholomew: Rebels on the Burmese border. Cambridge: Cambridge University Press, 1991. - Elsbeth Locher-Scholten, Mary F. Somers Heidhues, Bangka tin and mentok pepper; Chinese settlement on an Indonesian island. Singapore: Institute of South-east Asian studies, 1992, 296 pp. - Marie Alexandrine Martin, Christin Kocher Schmid, Of people and plants. A botanical ethnography of Nokopo village, Madang and Morobe provinces, Papua New Guinea. Ethnologisches Seminar der Universität und Museum für Völkerkunde, Basel, 1991, 336 pp. - J. Noorduyn, Bernhard Dahm, Regions and regional developments in the Malay-Indonesian world: 6 European Colloquium on Indonesian and Malay studies (ECIMS) June 1987 Passau. Wiesbaden: Harassowitz, 1992, x + 221 pp., maps. - J. Noorduyn, J.N. Sneddon, Studies in Sulawesi Linguistics, Part II, NUSA, Linguistic studies of Indonesian and other languages in Indonesia, volume 33. Jakarta: Baden Penyelenggara Seri Nusa, Universitas Katolik Indonesia Atma Jaya. 1991, x + 115 pp., maps. - Anton Ploeg, Richard Michael Bourke, Taim hangre: Variation in subsistence food supply in the Papua New Guinea highlands, Unpublished PhD thesis, submitted in the department of human geography, The Australian National University, RSPacS, Canberra, 1988, xxiii + 370 pp., maps, tables, figures, appendices. - Anton Ploeg, Maureen A. MacKenzie, Androgenous objects: String bags and gender in central New Guinea. Chur, Switzerland, Harwood Academic Publishers, 1991, xv + 256 pp., maps, figures, bibliography, index. - Nico G. Schulte Nordholt, Jeremy Kemp, Peasants and cities; Cities and peasants; Rethinking Southeast Asian models, Overveen, ACASEA, 1990, 126 pp. - Rudiger Schumacher, Clara Brakel-Papenhuijzen, The Bedhaya court dances of central Java, Leiden/New York/Köln: Brill, 1992, xvi + 349 pp. - Corry M.I. van der Sluys, Carol Laderman, Taming the wind of desire; Psychology, medicine, and aesthetics in Malay Shamanistic performance. University of California Press, 1991, 382 pp. - J.H.F. Sollewijn Gelpke, Geoffrey Irwin, The prehistoric exploration and colonisation of the Pacific. Cambridge: Cambridge University Press 1992, viii + 240 pp. - R.G. Tol, Burhan Magenda, East Kalimantan; The decline of a commercial aristocracy. Ithaca, Cornell University (Cornell Modern Indonesia Project, Monograph Series (publication no. 70)), 1991, viii + 113 pp., maps.
32
Skvortsova, E. L. "Nishida Kitaro’s Views on Japanese Culture". Russian Journal of Philosophical Sciences, nr 8 (28.11.2018): 46–66. http://dx.doi.org/10.30727/0235-1188-2018-8-46-66.
Pełny tekst źródłaStreszczenie:
Nishida Kitaro (1870–1945) is a well-known Japanese philosopher whose work is marked by attempts to combine the world outlooks of the national spiritual tradition with elements of European philosophical thought. The article analyzes Nishida’s views on culture that are an independent part of his original philosophical theory. Religion, art, morality, science are the ideal forms of being in the historical world. The work of a scientist or artist is a manifestation of the formative activity of a person. The historical world as the “sphere of absolute nothingness” is the final point of the introspection of “nothingness,” where reality comprehends the identity of its opposites through human activity. Nothingness, or “Emptiness,” in the East Asian tradition has another, dynamic, dimension – these are the relations between people and the relations between man and the cosmos, or Nature, which are not perceived by rough human feelings and not comprehended by equally rough mind. Nishida stressed that for Japan the issue of the authenticity of the national foundations of culture, separated from Chinese and Indian influences, has a clearly positive answer in the aesthetic sphere: in the field of traditional poetics. The traditional aesthetics of Japan reflects the archetypal structure of the national culture. All world cultures have a common prototype, but each of them is a deviation, one-sidedness of this prototype. In the West, a culture of the form triumphed, beginning with Plato and Aristotle. In Japan, on the contrary, the culture was characterized by fluidity, processability, formlessness. In fact, Nishida is one of founding fathers of modern Japanese cultural studies.
33
Samizadeh, Souphiyeh. "Facial aesthetic treatments in East Asian populations". Journal of Aesthetic Nursing 11, nr 4 (2.05.2022): 164–68. http://dx.doi.org/10.12968/joan.2022.11.4.164.
Pełny tekst źródłaStreszczenie:
Most published studies on surgical and non-surgical cosmetic facial procedures focus on Caucasians. With increasing popularity and requests for medical aesthetic treatments from patients of various ethnicities, there is a need for aesthetic practitioners to broaden their understanding of anatomical differences, ideals of beauty and cultural differences among different ethnicities. With the East Asian diaspora numbering tens of millions and the continued development of that region, any aesthetic practitioner will likely need to treat an East Asian patient. East Asians are keen on surgical and non-surgical aesthetic treatments to enhance their beauty and seek treatments in Asia and abroad. There are many differences between Caucasians and East Asians, including the structural architecture of the face, attitudes and standards regarding beauty and patterns and rates of facial ageing. For an optimal consultation process, treatment planning and outcome, these fundamental differences should be understood by aesthetic practitioners.
34
RAE, PAUL. "Editorial: Many Voices". Theatre Research International 43, nr 1 (marzec 2018): 1–5. http://dx.doi.org/10.1017/s0307883318000020.
Pełny tekst źródłaStreszczenie:
In February of this year, I was fortunate to attend Bodies in/and Asian Theatres, a regional conference of the International Federation for Theatre Research (IFTR, the scholarly organization with which this journal is affiliated). It was held at the University of the Philippines Diliman under the aegis of the IFTR Asian Theatre working group. Toward the end of a plenary panel on contemporary South East Asian dance on the final day, a debate arose over the work of one of the speakers, Eisa Jocson. A dancer and choreographer, Jocson's work explores the aesthetics of local and transnational performative labour, and is often based on forms she learns from Filipinos working in the entertainment industry. For example, Macho Dancer (2013) is based on a distinctive style of erotic male nightclub performance, Host (2015) on the work of Filipinas in Japanese hostess clubs, and the HAPPYLAND series (2017) on the high number of Filipinos employed at the Hong Kong Disneyland. In response to her presentation on these and other works, some scholars from the Philippines asked Jocson, who mainly performs in Manila and on the international contemporary performance circuit, why she did not tour nationally. After all, they reasoned, since Jocson's performances are inspired by the work of entertainers who often come from regional cities and rural areas, is it not right to present the work ‘back’ to such a workforce and their communities? Such questions are, of course, complex and loaded. In so far as Jocson's performances address the exploitation of Filipino entertainers’ affective labour, is there any risk that Jocson compounds that exploitation for her own benefit? And in so far as those performances explore the choreographies of entertainment capital and commodified desire, should Filipino audiences not be informed and perhaps educated about such things? Jocson countered that while wider local exposure for her work was desirable, it was wrong to presume that it could readily be presented in such circumstances. She makes her work within a specific critical and discursive context, she explained, and as part of a long-term thematic and aesthetic enquiry. To present it outside such contexts would benefit neither the audience, nor the artist, nor the work. If anything, she seemed to be suggesting, the work is not made for the producers of such performance forms, but for their consumers, and those who elsewhere participate in and benefit from such economies. She recounted making the ‘mistake’ of asking the owners of a ‘macho dancer’ nightclub if she could perform Macho Dancer there, as part of their regular line-up, late at night. They offered her an early slot, so as not to disrupt business as usual.
35
Jang, Yong Ju, i Hyun Moon. "Special Consideration in the Management of Hump Noses in Asians". Facial Plastic Surgery 36, nr 05 (październik 2020): 554–62. http://dx.doi.org/10.1055/s-0040-1717144.
Pełny tekst źródłaStreszczenie:
AbstractAlthough not as prevalent as in Caucasian rhinoplasty, correction of a hump nose also poses a significant problem for East Asian rhinoplasty. The hump noses in East Asians can be classified as generalized humps, isolated humps, and relative humps with a low tip. Appropriate management of the Asian hump nose demands a good understanding of the anatomical characteristics unique to East Asians. As the East Asians generally prefer to have a nose with a prominent tip and well-augmented nasal dorsum, the concept of redistribution is significant in managing convex dorsum of the East Asians. Hump reduction should be done in a conservative and incremental manner, including careful removal of the bony cap and cartilaginous hump. Tip augmentation using a septal extension graft is an essential maneuver to achieve an aesthetically pleasing tip height, which has a tremendous impact on the overall aesthetic outcome. Midvault reconstruction, dorsal augmentation, and camouflage are additional key elements for the success of the operation. Complications such as undercorrection and dorsal irregularities are not uncommon, requiring surgeons to take utmost care to address them.
36
Mirza, Romana. "Contemporizing Modesty". Fashion Studies 1, nr 2 (2019): 1–17. http://dx.doi.org/10.38055/fs010204.
Pełny tekst źródłaStreszczenie:
Contemporary Muslim Fashions, September 22, 2018 – January 6, 2019 was organized by the Fine Arts Museums of San Francisco, shown in the de Young Museum and curated by Jill D’Alessandro and Laura Camerlengo, both curators at the museum, and consulting curator Reina Lewis, a scholar at the London College of Fashion, University of the Arts London. The aim was to represent contemporary Muslim fashions. To this end, they assembled and exhibited a collection of garments from the most popular fashion designers of the day, chosen from a series of shows at modest fashion weeks around the world. Supplemented by key pieces that have gained traction in the news such as the Burkini™ and Nike®’s sport hijab, this exhibit elevated perceptions and highlighted a global view by showing designs from around the globe, honouring the African-American, Muslim-American, Arab, and South East Asian cultures and aesthetics. Supporting the sartorial narrative was a display of visual and multimedia art from hip hop music videos, film, Instagram feeds, photography, magazine covers, and prints. The multimedia “exhibit within an exhibit” complemented the sartorial narrative by providing a contemporary context for the clothing. It reminded the observer that the exhibit was not merely about fashion history or the evolution of modesty in dress but about a contemporary moment. The relationship between fashion and the body was explored through designs that cover the body and intentionally hide the often objectified and sexualized female figure to reveal a contemporary approach to fashion that is empowering.
37
Villegas, Mark R. "“Gangsta Chi”". Journal of Popular Music Studies 34, nr 4 (1.12.2022): 109–31. http://dx.doi.org/10.1525/jpms.2022.34.4.109.
Pełny tekst źródłaStreszczenie:
This article sheds light on the pervasive yet largely uncommented upon presence of geek culture and Orientalism in hip hop, revealing the constructed, performed, and mediated nature of racialized masculinity in popular culture. By observing a range of media artifacts but concentrating on RZA’s memoir The Tao of the Wu (2009), this article contends that geeky hip hop Orientalism performs a strategy of style codeswitching, wherein the combination of intellectualism and the fantasized East expand the repertoire of Black masculinity and fantastical worldmaking. Heavy in Orientalist themes that mirror the hyper intellectualism associated with geekiness, The Tao of the Wu evinces the strong bond between geek culture and early hip hop music. Specifically, this article focuses on RZA’s mental cultivation over physicality and his enchantment by children’s media culture (comics, anime, and kung fu cinema). Merging hip hop and geek culture, which conventionally appear to exist on opposite poles, results in new interracial paradigms of geek and hip hop representations. Hip hop geekiness largely detours from an otherwise presumed whiteness in routing itself along a storied legacy of African American Orientalism. In this way, geeky hip hop Orientalism contributes to more queered and quotidian versions of Afro Asian aesthetics, politics, and interracial fantasy worlds. A deep consideration of the bonds among hip hop, geekiness, and Orientalism helps to reimagine the embodiments and performances of racialized masculinity, which, though complex and limited, can gesture towards the freedoms promised in a more expansive spectrum of gender and sexual affinities and identities.
38
Kwon, Soo-Ha, William Wei-Kai Lao, Che-Hsiung Lee, Angela Ting-Wei Hsu, Satomi Koide, Hsing-Yu Chen, Ki-Hyun Cho, Eiko Tanaka, Young-Woo Cheon i Tommy Nai-Jen Chang. "Experiences and attitudes toward aesthetic procedures in East Asia: a cross-sectional survey of five geographical regions". Archives of Plastic Surgery 48, nr 6 (15.11.2021): 660–69. http://dx.doi.org/10.5999/aps.2020.02565.
Pełny tekst źródłaStreszczenie:
Background The demand for aesthetic procedures continues to grow globally, particularly in East Asian countries. The popularity of specific aesthetic procedures varies, however, depending on the particular East Asian geographical region being studied. This study aimed to evaluate the experiences of and attitudes toward aesthetic procedures in five East Asian countries/regions, including China, Japan, South Korea, Hong Kong, and Taiwan.Methods To recruit participants, an online questionnaire was designed and distributed on social media networks between May 2015 and March 2016. The statistical analysis was conducted using SPSS software, version 22.0.Results A total of 3,088 people responded (approximately 600 in each country/region). Of these, 940 participants (47.8%) responded that they had experienced at least one aesthetic procedure in the past. Taiwan had the highest number of participants who had experienced at least one procedure (264/940, 41%), with primarily non-surgical experiences. Only in South Korea did surgical cosmetic experiences exceed non-surgical cosmetic experiences (55.9% vs. 44.1%). The popularity of particular procedures and the motivation for undergoing aesthetic procedures varied by country.Conclusions The popularity of aesthetic procedures continues to evolve. Similar trends were observed across the East Asian regions; however, each country had its unique demands and preferences. The information provided by this study can help aesthetic plastic surgeons further understand the patients in their corresponding region, customize their practice, and develop the requisite skills.
39
Shen, Xinyan. "Reinterpreting Asiatic Representation in the Pictorial Space of Whistler’s Purple and Rose: The Lange Leizen of the Six Marks". Art and Society 2, nr 1 (luty 2023): 45–49. http://dx.doi.org/10.56397/as.2023.02.07.
Pełny tekst źródłaStreszczenie:
The presence of East Asian decorative art and objects were prevalent during the 19th and 20th century, and these exquisitely refined objects inspired many artists to include them in their paintings. Among the artists who sought them for aesthetic innovation and perfection through East Asian art during the Aesthetic Movement, James Abbot McNeill Whistler was one who felt the most influence of East Asian art, and most successfully demonstrated and incorporated them into his own paintings. The oil painting Purple and Rose: The Lange Leizen of the Six Marks is a representational piece that displays Whistler’s taste and understanding towards East Asian art, through which the artist reveled in the joy of portraying pure aesthetic beauty, showing his enthusiasm for Oriental art. This paper approaches through a visual analysis of Whistler’s painting, The Lange Leizen of the Six Marks, to explicate the entanglements of Japonisme elements and blue and white porcelains, as well as the fantasized image of East Asia and China and the commonly stereotyped femininity associated with these objects.
40
Zhang, Chen. "The Golden Proportion in Nasal Aesthetics for East Asians". Aesthetic Surgery Journal 42, nr 5 (13.12.2021): NP368—NP370. http://dx.doi.org/10.1093/asj/sjab406.
Pełny tekst źródła
41
Chung, Sheng Kuan. "Aesthetic Practice and Spirituality: Chi in Traditional East Asian Brushwork". Art Education 59, nr 4 (maj 2006): 33–38. http://dx.doi.org/10.1080/00043125.2006.11651601.
Pełny tekst źródła
42
Park, Juyeol. "An East Asian Aesthetic Study on the Sea through Literature Review". KOREA SOCIETY FOR SCIENCE OF EASTERN ART 49 (30.11.2020): 83–107. http://dx.doi.org/10.19078/ea.2020.49.4.
Pełny tekst źródła
43
Kim, Joonho, i Jisun Lee. "The Impact of Eastern Philosophy on Western Classical Music Education: Focusing on the Influence of Confucianism in China". Society for International Cultural Institute 15, nr 2 (31.12.2022): 21–44. http://dx.doi.org/10.34223/jic.2022.15.2.21.
Pełny tekst źródłaStreszczenie:
Most East Asian countries have an educational environment based on the spitirual heritage of the Confucian culture. The outstanding performance skills and musical achievements of East Asian performers need to be found in the unique thought and culture of East Asia how classical music originated in the West, especially Europe, was accepted, formed, developed and influenced in these East Asian countries. Throught this study, the successful internalization and performance creation process of Western classical music education in which East Asian value systems are transplanted from other cultures will be explored to reveal the value and expandability of humanistic philosophy inherent in the consciousness of East Asian countries. The educational philosophy of Confucianism, common to all East Asian countreis, has influenced the methods and purposes of the curriculum for a long period of history. In particular, China, the birthplace of Confucianism, has undergone great changes in the negative and positive aspects of traditional Confucianism in modern history, which has an impact on the introduction and spread of Western classical music and the exploration of training methods and spirits for new music styles. This study explored the interaction between the philosophy and art of different cultures by exploring the spiritual and ideological bases for the outstanding achievements of East Asian artists in the process of encountering Eastern philosophy and Western art. In order to enhance the musical perfection of Western classical music, which has been established as the upper culture of music art, oriental values and aesthetic perspectives are affecting the attitude of performers.
44
Lin, Tzu-yu. "Hybridities in a Metropolitan Diasporic Space – Weng Nao’s Literary Tokyo". Archiv orientální 82, nr 3 (13.12.2014): 581–97. http://dx.doi.org/10.47979/aror.j.82.3.581-597.
Pełny tekst źródłaStreszczenie:
This paper explores a hybrid space of Tokyo in the early twentieth century in the literary world of Taiwanese writer Weng Nao. Homi Bhabha’s theory will be adapted in order to further discuss hybridities and ambivalence in the metropolitan space within diasporic literature. Amongst other Taiwanese writers in the 1930s, Weng Nao was one of the few followers of Shin-kankakuha (the Neosensualist School), which was established by Japanese modernist writers such as Kawabata Yasunari, Tanizaki Jun’ichiro, Yokomitsu Riichi, Hayashi Fumiko and Sato Waruo, and insisted on presenting literary writing in the form of pure aesthetics. His new and modernist experimental techniques of literary representation and sophisticated descriptions of the loneliness of urban life and the inner desires of the human mind made his works distinct from those of other Taiwanese diasporic authors in the 1930s. However, with regard to his specific writing style and his detailed descriptions of innermost sexual desires, Weng’s works were far beyond what was deemed acceptable by East Asian or Taiwanese literary communities in the early twentieth century and received quite a significant amount of negative criticism. In addition, being long considered to be mocking the writing style of the Japanese Neosensualist School, Chinese critics such as Gu Zitang comments on his works as “not Chinese literature at all” and “not yet totally westernized.” In fact, his literary status is far more important than Taiwanese literati could have imagined during his lifetime. In order to re-evaluate his literary status, this paper begins by exploring the significance of Tokyo and foregrounds its articulation within Weng’s diasporic experience in his metropolitan literary space. Then, I discuss the adaptations made by Weng Nao to Japanese Neosensualist writing, which, I argue, can be considered as an expression of his resistance to colonial modernist values. Finally, I propose to utilize the sense of translation in order to understand how diasporic literature as an act of writing across cultures and nations can be seen as a process of code-switching between different cultural/linguistic systems, which carries across memories and cultures from one cultural context to another. In the terms of form, context and themes, Weng’s modified modernist Tokyo writing reveals his uniqueness and resistance towards both Japanocentrism and Eurocentrism, which distinguishes him as an outstanding Taiwanese diasporic writer rather than as merely a follower of Japanese Neosensualist literature.
45
Lin, Tzu-yu. "Hybridities in a Metropolitan Diasporic Space – Weng Nao’s Literary Tokyo". Archiv orientální 82, nr 3 (13.12.2014): 581–601. http://dx.doi.org/10.47979/aror.j.82.3.581-601.
Pełny tekst źródłaStreszczenie:
This paper explores a hybrid space of Tokyo in the early twentieth century in the literary world of Taiwanese writer Weng Nao. Homi Bhabha’s theory will be adapted in order to further discuss hybridities and ambivalence in the metropolitan space within diasporic literature. Amongst other Taiwanese writers in the 1930s, Weng Nao was one of the few followers of Shin-kankakuha (the Neosensualist School), which was established by Japanese modernist writers such as Kawabata Yasunari, Tanizaki Jun’ichiro, Yokomitsu Riichi, Hayashi Fumiko and Sato Waruo, and insisted on presenting literary writing in the form of pure aesthetics. His new and modernist experimental techniques of literary representation and sophisticated descriptions of the loneliness of urban life and the inner desires of the human mind made his works distinct from those of other Taiwanese diasporic authors in the 1930s. However, with regard to his specific writing style and his detailed descriptions of innermost sexual desires, Weng’s works were far beyond what was deemed acceptable by East Asian or Taiwanese literary communities in the early twentieth century and received quite a significant amount of negative criticism. In addition, being long considered to be mocking the writing style of the Japanese Neosensualist School, Chinese critics such as Gu Zitang comments on his works as “not Chinese literature at all” and “not yet totally westernized.” In fact, his literary status is far more important than Taiwanese literati could have imagined during his lifetime. In order to re-evaluate his literary status, this paper begins by exploring the significance of Tokyo and foregrounds its articulation within Weng’s diasporic experience in his metropolitan literary space. Then, I discuss the adaptations made by Weng Nao to Japanese Neosensualist writing, which, I argue, can be considered as an expression of his resistance to colonial modernist values. Finally, I propose to utilize the sense of translation in order to understand how diasporic literature as an act of writing across cultures and nations can be seen as a process of code-switching between different cultural/linguistic systems, which carries across memories and cultures from one cultural context to another. In the terms of form, context and themes, Weng’s modified modernist Tokyo writing reveals his uniqueness and resistance towards both Japanocentrism and Eurocentrism, which distinguishes him as an outstanding Taiwanese diasporic writer rather than as merely a follower of Japanese Neosensualist literature.
46
Yap, Eduardo. "Management of Ala Columella Disproportion in South East Asian Noses". Facial Plastic Surgery 36, nr 05 (październik 2020): 505–16. http://dx.doi.org/10.1055/s-0040-1717081.
Pełny tekst źródłaStreszczenie:
AbstractSouth East Asian noses have a characteristic ala and columella disproportion and mostly manifest as hanging ala. Simultaneous correction during rhinoplasty is recommended to achieve a good aesthetic result. Since hanging ala is a common feature, a classification system is presented as a guide for surgical management. The classification is based on the frontal view showing the alar rim connecting to the columella lobule area simulating the wings of a gull in gentle flight. A mild deformity has the gull's wing in the horizontal direction. A moderate deformity has the gull's wing in a slight inferior direction. A severe hanging deformity has the gull's wing in the inferior direction, ending below the columella lobule area, and this is mostly accompanied by retracted columella. There are various techniques for the surgical correction of hanging ala. The author has made a modification of the internal approach called “sail excision” using the groove within the lateral nasal vestibule as a landmark. The author terms this area as the vestibular groove. Sail excision involves removal of a triangular portion of tissue anterior to this vestibular groove. Another aesthetic deformity noticed in South East Asian noses is that the alar rim base is lower than the columellar base. In correcting hanging ala with involvement of the alar rim base, the sail excision is extended posteriorly following the vestibular groove as its guide to the amount to be excised. To enhance the overall aesthetic outcome, the acute columella labial angle seen in South East Asian noses has to be made fuller through surgery. This is accomplished using septal extension graft for tip projection, with preservation of the posterior angle of the caudal septum. Plumping grafts are used as filler material in the premaxillary area.
47
Samson, Jim. "Chopin, Pianos and East Asian Modernity". Chopin Review, nr 4-5 (2.03.2023): 4–19. http://dx.doi.org/10.56693/cr.4.
Pełny tekst źródłaStreszczenie:
For music to have an identity, it seems, it must belong to someone. I will argue that in the twenty-first century Chopin no longer belongs to Europe. Can we really speak of ‘Chopin reception’ in East Asia today, given that he now belongs to these cultures too? Already in the early twentieth century, the piano emerged as a potent symbol of modernity in East Asia, and today the success of East Asian pianists in the International Chopin Competition has become a matter of the greatest national pride for relevant nations. In this paper I will ask if socio-political modernities in East Asia, and the cultural modernisms that followed them and responded to them, are distinguishable from those of ‘the West’. Which are the common factors, and which the unique, bearing in mind that modernists of both East and West cultivated and relished temporal distance (now vs then), as well as spatial distance (here vs there)? In addressing cultural encounters between East and West, I heed Jürgen Osterhammel’s caution against prematurity in the identification of dichotomous discourses. I also invoke the theoretical concept of ‘cultural lag’, a concept of some vintage, but one that can have explanatory value when we consider the counterpoints and synergies generated between science, politics and culture in both East and West. In reflecting on Chopin in East Asia, I contextualise cultural transfer in several ways. These include aesthetic responses to collective trauma, not least through the establishment of a tabula rasa, or alternatively through a mode of (depthless) imitation that celebrates what Susan Sontag called ‘sensuous surface’. They also include a surrender to mechanism, and a tendency to fetishise or iconise cultural figures. All of these are arguably symptomatic of East Asian modernisms.
48
Kim, Sunwoo, Yuri Lee i Seunghoo Lim. "IDENTIFYING AESTHETIC PREFERENCES FOR BEAUTY TYPES IN WOMENS APPEARANCE AMONG EAST ASIAN CULTURES". Global Fashion Management Conference 2017 (6.07.2017): 302–7. http://dx.doi.org/10.15444/gfmc2017.04.05.01.
Pełny tekst źródła
49
Lim, Wesley, i Michelle H. S. Ho. "Hyperathletic Artistry: Nathan Chen and Yuzuru Hanyu Performing Asian Masculinities". Dance Research 41, nr 1 (maj 2023): 1–18. http://dx.doi.org/10.3366/drs.2023.0387.
Pełny tekst źródłaStreszczenie:
The Chinese American skater Nathan Chen and the Japanese skater Yuzuru Hanyu have demonstrated what we call a ‘hyperathletic-artistic turn’: recognizing an almost superhuman, quad-jumping ability along with an equally developed artistic side. This article closely analyses their 2018 Olympic season performances exploring costuming, music, dance choreography, and jumping ability. While Chen's balletic and dancerly choreography – a ‘return of the dancer’ aesthetic – maintains an individualistic maverick instead of commercially recognisable macho hypermasculinity, Hanyu's ‘soft masculine queer turn’ draws from the queer costuming and mannerisms of Johnny Weir and the confidence of Evgeni Plushenko. Through their performances and choreography, we argue that Chen and Hanyu importantly carve out emerging artistic forms of East Asian and Asian-American masculinities in the predominantly white sport of figure skating. These skaters are part of a driving force in an East Asian turn in men's figure skating.
50
Young, Stephanie Ming, i Yoon-Duck Kim. "Complications of Asian Double Eyelid Surgery: Prevention and Management". Facial Plastic Surgery 36, nr 05 (październik 2020): 592–601. http://dx.doi.org/10.1055/s-0040-1717147.
Pełny tekst źródłaStreszczenie:
AbstractDouble eyelid surgery remains one of the most popular aesthetic surgeries, especially among East Asian populations. Complications related to double eyelid surgery can be divided into various categories: (1) patient dissatisfaction, (2) problems with the eyelid crease, (3) problems with the eyelid height, (4) suture-related complications, and (5) complications related to eyelid surgery in general. As with all eyelid surgeries, it is important to understand and appreciate the normal and abnormal function and anatomy of the Asian eyelid to reduce the risk of complications. It is also important to recognize the various complications and their underlying causes so that the surgeon can confidently revise the surgery to achieve optimal outcomes.