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Figures of beauty : = Aesthetics and the beautiful woman in Meiji Japan.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Figures of beauty :/
其他題名:	Aesthetics and the beautiful woman in Meiji Japan.
作者:	Lippit, Miya Elise Mizuta.
面頁冊數:	1 online resource (257 pages)
附註:	Source: Dissertations Abstracts International, Volume: 63-09, Section: A.
Contained By:	Dissertations Abstracts International63-09A.
標題:	Asian literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3030797click for full text (PQDT)
ISBN:	9780493437736

Figures of beauty : = Aesthetics and the beautiful woman in Meiji Japan.
Lippit, Miya Elise Mizuta.

Figures of beauty :Aesthetics and the beautiful woman in Meiji Japan. - 1 online resource (257 pages)

Source: Dissertations Abstracts International, Volume: 63-09, Section: A.

Thesis (Ph.D.)--Yale University, 2001.

Includes bibliographical references

In the final decade of the nineteenth century, the feminine figure took center stage in yoga (Western-style painting) as a result of the debate over the nude. The first decade of the twentieth century also saw the emergence of the feminine figure in Nihonga (Japanese-style painting) with the birth of bijinga (paintings of beauties), a genre unique to Meiji Japan (1868-1912). How did the bijin, (the beauty) become a prominent subject of the Nihonga school of art? My study analyzes the Meiji bijin, as a conceptual figure that evolves from the aesthetic discourse of the Meiji 20s (1887-96) and 30s (1897-1906). Entering into journals, newspapers, literary texts, paintings, illustrations, photographs, and advertisements with unprecedented frequency, the bijin, appeared where a number of epistemological fields intersect. A symbol that spans various disciplines, the bijin, serves as a material point of contact between the literary and artistic communities, providing a venue for the investigation of the philosophical issues surrounding modern conceptions of Japanese beauty (bi). Chapter One delineates the historical backdrop against which feminine beauty emerged at the core of aesthetic issues in the Meiji period. It explores the ways in which the bijin operates as a critical site from which the aesthetic sensibilities of Japanese cultural beauty as a whole can be evaluated. Chapter Two looks at literary narratives in which women are transformed into artworks and is concerned with the process by which the Japanese woman is configured as an unnatural artwork against the perception of the "eternal feminine" or the Western woman as Nature. Chapter Three, which introduces four Meiji period journals dedicated to the topic of bijin, examines the transformation of the nation Japan into a feminized and aestheticized artifact. Chapter Four addresses the development of literary and artistic realism by reading representations of the bijin, in literary texts, kuchi-e (frontispiece illustrations), photographs, and bijinga around the theme of the bijin hakumei (short-lived beauty). This dissertation attempts to reconcile the artistic image of the bijin with the aesthetic ideology from which it develops. Through an analysis of bijinga's adherence to the idea of the bijin, this study re-evaluates a crisis in the construction of modern beauty around the question of the feminine.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9780493437736Subjects--Topical Terms:

2122707
Asian literature.
Subjects--Index Terms:

AestheticsIndex Terms--Genre/Form:

542853
Electronic books.

Figures of beauty : = Aesthetics and the beautiful woman in Meiji Japan.
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504 $a Includes bibliographical references
520 $a In the final decade of the nineteenth century, the feminine figure took center stage in yoga (Western-style painting) as a result of the debate over the nude. The first decade of the twentieth century also saw the emergence of the feminine figure in Nihonga (Japanese-style painting) with the birth of bijinga (paintings of beauties), a genre unique to Meiji Japan (1868-1912). How did the bijin, (the beauty) become a prominent subject of the Nihonga school of art? My study analyzes the Meiji bijin, as a conceptual figure that evolves from the aesthetic discourse of the Meiji 20s (1887-96) and 30s (1897-1906). Entering into journals, newspapers, literary texts, paintings, illustrations, photographs, and advertisements with unprecedented frequency, the bijin, appeared where a number of epistemological fields intersect. A symbol that spans various disciplines, the bijin, serves as a material point of contact between the literary and artistic communities, providing a venue for the investigation of the philosophical issues surrounding modern conceptions of Japanese beauty (bi). Chapter One delineates the historical backdrop against which feminine beauty emerged at the core of aesthetic issues in the Meiji period. It explores the ways in which the bijin operates as a critical site from which the aesthetic sensibilities of Japanese cultural beauty as a whole can be evaluated. Chapter Two looks at literary narratives in which women are transformed into artworks and is concerned with the process by which the Japanese woman is configured as an unnatural artwork against the perception of the "eternal feminine" or the Western woman as Nature. Chapter Three, which introduces four Meiji period journals dedicated to the topic of bijin, examines the transformation of the nation Japan into a feminized and aestheticized artifact. Chapter Four addresses the development of literary and artistic realism by reading representations of the bijin, in literary texts, kuchi-e (frontispiece illustrations), photographs, and bijinga around the theme of the bijin hakumei (short-lived beauty). This dissertation attempts to reconcile the artistic image of the bijin with the aesthetic ideology from which it develops. Through an analysis of bijinga's adherence to the idea of the bijin, this study re-evaluates a crisis in the construction of modern beauty around the question of the feminine.
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650 4 $a Womens studies. $3 2122688
650 4 $a Art history. $3 2122701
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653 $a Beauty
653 $a Bijin
653 $a Japan
653 $a Meiji
653 $a Woman
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