Mariam Asfour từ Cona PE, Italy

_ashosha

11/05/2024

Dữ liệu người dùng, đánh giá và đề xuất cho sách

Mariam Asfour Sách lại (10)

2019-06-24 19:31

30 Món Bún - Lẩu Thư viện Sách hướng dẫn

Sách được viết bởi Bởi: Đỗ Kim Trung

While the West's ubiquitous illumination--both in the literal and figurative sense--complements well the fresh and glossy aesthetic that stems from that part of the world, for centuries, Tanizaki points out, Japanese life has emerged amidst shadow where patina and evidence of well ordered use most suitably come to the fore. Under these circumstances the hinting of the thing is more savory than the thing itself, but with the growing Western influence, almost everything traditionally Japanese becomes garish under constant electrical inspection. "The cleanliness of what can be seen calls up the more clearly thoughts of what cannot be seen." Elaborating on the unsuitability of Western technology for Japanese music, Tanizaki wonders what might have been if the Japanese had had time to develop its own technologies geared towards Japanese music's specific character, music that depends very much on "reticence" and "pauses". "The phonograph and the radio render these moments of silence utterly lifeless. And so we distort the arts themselves to curry favor for them with the machines." In the final pages the focus shifts from the cultural to the biographical where, apparently finished praising shadow, Tanizaki moves to lament youth, changing times and the outcasting of the elderly. To be fair he realizes what he's becoming the grumbling codger. Still, the essay loses a bit of its charm at this point and certainly some of its cohesion. Only halfway through the essay I realized that every time it evoked shadow I inevitably returned to mental visions of sunbeams (as necessary constituents of shadow). I never really pictured shadow itself. There seemed also a case for cultural relativism here and the rest of the essay I tried to mold my mental imagery to experience this foreign aesthetic. Does anyone know what the Japanese reading of this essay has been, either on publication or in more contemporarily? That'd be interesting to hear.

Người đọc Mariam Asfour từ Cona PE, Italy

Người dùng coi những cuốn sách này là thú vị nhất trong năm 2017-2018, ban biên tập của cổng thông tin "Thư viện Sách hướng dẫn" khuyến cáo rằng tất cả các độc giả sẽ làm quen với văn học này.