Although Tanizaki Jun'ichirō's literary essay In'ei raisan (In praise of shadows) (1933) now sometimes receives serious attention, it is still often dismissed as nostalgic—missing the significance of Tanizaki's ontology of the shadow for our information-saturated era, with its conformist tendencies to block out all negativity. This essay relocates In'ei raisan within two historical contexts: first, the Kyoto School, including Kyoto's negotiation with Martin Heidegger, and a wider attempt to overhaul the empiricist, property-driven hardwiring of progress derived from the (...) British empire; second, the recently burgeoning field of 'critical transparency studies', for which the promise of perfectly clear representation risks a bureaucratic authoritarianism absorbing all agency. To a remarkable degree, the diagnosis by twenty-first century critical transparency studies of a narcissistic, technocratic addiction to positivity is already there in Tanizaki's shadows. These shadows deserve reconsideration for their potential to derail our condition of 'stuckness' in a progress defined by an empiricist instrumentalization of the world. (shrink)

Against the Artists. Jun'ichirō Tanizaki and the Man of Art. -/- This essay explores the concepts of "art" (gei) and "man of art" (geinin) in Tanizaki's works. These two notions belong to an ancient Japanese aesthetic tradition. The concept of 'gei' means "realization", "skill", but also "technique" and "ability". Traditional stage performances such as 'nō', 'kyōgen', 'bunraku', 'kabuki', are typical examples of 'gei'. On the other hand the concept of 'geinin' implies three pivotal aspects: 1) a strict and (...) harsh aesthetic education; 2) an environment suitable to develop the man of art's sensitivity; 3) a long process of emotional maturation. This perspective, according to this paper, sheds light on the peculiar Japanese aesthetic "difference" in relation to the concepts of art and artist developed - on the contrary - in Western tradition. (shrink)

En este texto se analizan los motivos gastronómicos de la obra del escritor japonés Junichiro Tanizaki, con el fin de discutir sus implicaciones estéticas y metafísicas. Para ello, se ofrece una breve semblanza del autor y se plantea la problemática de cómo interpretar sus textos, en un marcado contraste con la hermenéutica filosófica de corte occidental, y en función de una digresión filosófica sobre las nociones de utopía y heterotopía de Paul Ricœur y Michel Foucault.

Can we ever claim to understand a work of art or be objective about it? Why have cultures thought it important to separate out a group of objects and call them art? What does aesthetics contribute to our understanding of the natural landscape? Are the concepts of art and the aesthetic elitist? Addressing these and other issues in aesthetics, this important new Oxford Reader includes articles by authors ranging from Aristotle and Xie-He to Jun'ichiro Tanizaki, Michael Baxandall, and Susan (...) Sontag. It focuses on why art and a variety of aesthetics matter to us, and on how perceivers participate in and contribute to the experience of appreciating a work of art. With its multicultural and multidisciplinary scope, this volume shows how anthropology, art history, Chinese theories of painting, and other perspectives both enrich and provide alternatives to classic philosophical accounts of art and the aesthetic. (shrink)

In this paper, I describe a conservative disposition to change which is capable of operating alongside three other dispositions: First, a disposition to accept a degree of epistemic humility with respect to the kinds of change that count as an ‘intimation’ or continuation of the value contained in some given situation. Second, a disposition to acknowledge the legitimacy of democratic majorities, even when these are not always expressions of those ‘intimations’ or continuations. Third, the disposition to help alleviate recognizable injustices (...) as these might be suffered—and understood—by minorities. A conservative disposition to preserve the value of some given status quo operates in tension with these other three, and can sometimes give way to those other dispositions. An important part of managing tensions between these dispositions is an additional practice of reconciliation, one that helps conservatives treat change in properly conservative ways. I develop an account of this practice through a reading of Junichiro Tanizaki’s _In Praise of Shadows_ and the Japanese concept of _mono no aware_. I argue Tanizaki’s work offers an approach to change that is conservative in spirit while still being capable of accommodating itself to change which will reduce—and even eliminate—things of value that were possible prior to that change. (shrink)

Recent advances in the theory of dynamical systems, set-valued analysis, and viability theory offer new and interesting perspectives on the shaping of social and historical time. Specific aspects of these theories are presented in several different areas to show their concrete applications in history and historical demo-economy, and a parallel is established with novelist Tanizaki's fictional technique. In connection with this, McCloskey's 1991 comparison of storytelling with deterministic chaos is discussed and a critique of other models concerned with unpredictability (...) in human affairs provided. Finally, the shapings of social and historical time are described in terms of the viable strategies at the heart of evolutionary processes involving human agents interacting with a variety of constraints. (shrink)