CHAPTER V. Western-Style Painting in the Early Meiji Period and Its Critics

Rosenfield, John M.

doi:10.1515/9781400869015-010

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“…3 On India, see Mitter 1994. On Japan see: Sullivan 1973, 117-118;Rosenfield 1971. For a general account see Mason 2005.…”

Section: Partha Mittermentioning

confidence: 99%

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Doğramacı¹,

Hetschold²,

Lugo³

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aufzuspüren, an denen sich Migrationsbewegungen konzentrisch verdichten. Erst in der Ortsreferenz, das heißt in der Situierung, Bündelung und punktuellen Immobilisierung von Wanderbewegungen manifestiert sich, wie Migrationsphänomene im Feld der Kunst Bedeutung generieren. " (Dogramaci et al. 2015, 3). 2 https://en.oxforddictionaries.com/definition/immigrant. Accessed 27 November 2018. 3The conference was held on 30 November and 1 December 2018 at the Zentralinstitut für Kunstgeschichte (ZI) Munich and the Internationales Begegnungszentrum (IBZ) Munich. For more information see https:// metromod.net.

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“…3 On India, see Mitter 1994. On Japan see: Sullivan 1973, 117-118;Rosenfield 1971. For a general account see Mason 2005.…”

Section: Partha Mittermentioning

confidence: 99%

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“…Ar tists who have succumbed to the charm of the Japanese nō theatre are numerous. We often seem to forget about their Far Eastern inspirations that can be found, for example, in the work of visionary pioneers, such as: Paul Claudel (1868-1955), Jacques Copeau (1879-1949), Charles Dullin (1885-1949, Jean-Louis Barrault (1910Barrault ( -1994, Gabriel Cousin (1918Cousin ( -2010 -in France; Edward Gordon Craig (1872-1966), Benjamin Britten (1913-1976Bertolt Brecht (1898-1956Samuel Beckett (1906-1989) -in Ireland. In the activity of the creators of this generation, one can notice distinct signs of fascination with the nō theatre, manifesting with varying strength.…”

Section: European Theatrementioning

confidence: 99%

Rocznik Orientalistyczny/Yearbook of Oriental Studies

Żeromska

2020

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The article is devoted to the world’s first popularizers of the nō theatre outside Japan, with particular emphasis on the pioneering achievements of two Americans, Ernest Francisco Fenollosa (1853–1908) and Ezra Pou nd (1885–1972), as well as the next generation representing various European countries. The latter included, among others, William Butler Yeats (1865–1939), Paul Claudel (1868–1955), Jacques Copeau (1879–1949), Charles Dullin (1885–1949), Jean-Louis Barrault (1910–1994), Gabriel Cousin (1918–2010), Edward Gordon Craig ( 1872–1966), Benjamin Britten (1913–1976), Bertolt Brecht (1898–1956) and Samuel Beckett (1906–1989), who, influenced by the fascination with the nō theatre, were the first to reform, in a more or less visible way, the traditional, realistic European theatre.

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CHAPTER V. Western-Style Painting in the Early Meiji Period and Its Critics

Cited by 2 publications

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