Добірка наукової літератури з теми "Bunmei kaika"

Abstract With the Great Council of State‟s 16th decree, the Meiji administration introduced the neologism kōen, „public park‟, to the Japanese language and the administrative system. One of the re-named parks was today‟s Ueno Kōen, which during the Meiji period changed with regards to character and appearance. It came to house the first modern museums, the first modern zoo, and the first public library. Industrial fairs were to be held in Ueno Kōen and a train station was built, connecting the rural north with Japan‟s capital. Meiji politicians re-designed the park grounds, in which today not only institutions of education, industry and modernity are located, but the highest number of homeless people in any one place in Tōkyō is to be found. The research question, „What kind of space was constituted in the place Ueno Kōen during Meiji time?‟ is to be answered with the discourse theory of the German sociologist Reiner Keller and the theory on the social construction of space offered by the German sociologist Martina Löw. The article will show that Ueno Park was to become a spatial representation of Japan‟s modernisation process and of the policies of „enlightenment‟ and „rich country, strong army‟, bunmei kaika and fukoku kyōhei.

Pretende-se aqui explorar a representação das classes populares na literatura Meiji, partindo de uma observação de Hirabayashi Hatsunosuke a respeito do tema. As histórias tradicionais de literatura japonesa concentram-se no debate estético entre escolas, dando pouca atenção para a relação da literatura com a vida social do povo comum. Esse artigo pretende abordar esse hiato, através de uma descrição de movimentos e autores para localizar e avaliar momentos de representação das massas trabalhadoras. Meiji é excepcional na história por ser uma época de grande agitação popular, revoltas e formação de um pensamento antigovernamental de esquerda. Assim, tenta-se aqui encontrar reflexos desses fenômenos na literatura. Conclui-se pela confirmação da tese de Hirabayashi, qual seja, que a literatura Meiji não possui muitos exemplos de retratos realistas do povo, mas procura-se ainda assim nuançar esse quadro e apontar as exceções.

Za punkt wyjścia do refleksji na temat rewolucji posłużył dziennik pierwszego rosyjskiego noblisty w dziedzinie literatury Iwana Bunina, w którym opisano wydarzenia 1918- 1919 r. w Moskwie i Odessie. Oryginalny tytuł Окаянные дни sugeruje ich genezę w buncie biblijnego Kaina. Zarówno w owym pisanym na gorąco diariuszu, jak i w powstałym już na emigracji opowiadaniu Bogini Rozumu autor wykorzystał epizody Wielkiej Rewolucji Francuskiej, konstatując uniwersalizm mechanizmów rządzących każdą rewolucją. W artykule odwołano się również do prac francuskich historyków – Georges’a Lenotre’a i Reynalda Sechera, a także szkicu historiograficznego rosyjskiego poety Fiodora Tiutczewa. Na podstawie przeanalizowanego materiału badawczego wysunięta została teza o ontologicznej sprzeczności pomiędzy rewolucją a chrześcijaństwem. Pierwsza propaguje kult Rozumu oraz bunt, i w konsekwencji jest cywilizacją śmierci. Chrześcijaństwo z kolei wyznaje zmartwychwstałego Chrystusa, głosi powszechne zmartwychwstanie umarłych, i jest bezwzględną afirmacją życia. Bunin, Christianity and Revolution The diary of Russia’s first Nobel Prize winner in literature, Ivan Bunin, describing the events of 1918-1919 in Moscow and Odessa, served as a starting point for reflection on the revolution, the genesis of which is seen in the rebellion of the biblical Cain, as the original title Окаянные дни suggests. In both works – this diary, written in the spur of the moment, and in the short story The Goddess of Reason written in exile, the author used episodes from the Great French Revolution, stating the universalism of the mechanisms by which every revolution in ruled. The article also refers to the works of French historians Georges Lenotre and Reynald Secher, as well as the historiosophical sketch of Russian poet Fyodor Tyutchev. Based on the analysed research material, a thesis about the ontological contradiction between a revolution and Christianity was put forward. The former propagates the cult of Reason and calls for rebellion which consequently leads to the civilization of death. Christianity confesses the Risen Christ, proclaims the universal Resurrection of the dead and is an absolute affirmation of life.

The momentous signing of the Treaty of Kanagawa in 1854 marked the turning point to end Japan’s long seclusion from the West. Its subsequent ‘opening’ unveiled the refreshingly different aesthetic canon of Japanese art which was enthusiastically hailed by nineteenth century Western artists and designers. As a much sought after commodity, Japanese art was collected in unprecedented quantities throughout Europe, the British Empire and the United States. The mania for things Japanese also reached the far-flung colonies in Australia and New Zealand. This phenomenon, referred to in the English-speaking world as ‘Mikado Mania’ or the ‘Cult of Japan’, coincided with the establishment of public museums, the proliferation of international exhibitions and ease of global travel. These innovations fostered and facilitated the formation of Japanese art collections internationally. A survey of Australian and New Zealand collections and a particular examination of the Art Gallery of South Australia’s collection formed between the years 1904-1940 reveal the circumstances and personalities that shaped the nature and content of the collections. It is argued in this thesis that while nascent colonial public museums and private collectors such as those in South Australia were guided by British tastes, the genesis of which predated the nineteenth century ‘opening’ of Japan, the collecting of Japanese art in nineteenth-century Australia and New Zealand served as a signifier of international discourse and modernity. For Japan, its art became a tool to fend off foreign hegemony. Driven by the slogan bunmei kaika ‘civilisation and enlightenment’, Japan throughout the Meiji era (1868-1912) exploited the mania for its art in order to achieve status and recognition as a world power. It will be further argued that the spirit of bunmei kaika also encapsulated the cultural aspirations of the fledgling colonies in Australia and New Zealand which, by the late nineteenth century, were endeavouring to articulate their own ‘civilisation and enlightenment’ within the British Empire. Through their efforts to advance onto the world stage, the Australian colonies played a significant, though unrecognised role in Japan’s experimentation and investment in its self-promotion as a civilised country. The cause and effect of measures undertaken by the Japanese government to achieve bunmei kaika through the applied arts of ceramics, metalware, ivories and lacquer can be directly demonstrated through the very objects collected in South Australia and the other colonies. A study of their intrinsic qualities and provenance provides tangible evidence of Japan’s strategic efforts to advance its national identity through art. It also serves to shed light on the curatorial expertise and connoisseurship being exercised at the time by colonial museums and collectors. Japanese objects acquired during the formative period of Australian and New Zealand museums have long been ignored or dismissed as hybridised and inauthentic. Recently their technological ingenuity and cross-cultural aesthetic have been more generously acknowledged. They are the beacons of Japan’s quest for ‘civilisation and enlightenment’.
Thesis (Ph.D.) -- University of Adelaide, School of History & Politics, 2012