This study of modern Japan engages the fields of art history, literature, and cultural studies, seeking to understand how the "beautiful woman" (bijin) emerged as a symbol of Japanese culture during the Meiji period (1868-1912). With origins in the formative period of modern Japanese art and aesthetics, the figure of the bijin appeared across a broad range of visual and textual media: photographs, illustrations, prints, and literary works, as well as fictional, critical, and journalistic writing. It eventually constituted a genre of painting called bijinga (paintings of beauties). Aesthetic Life examines the contributions of writers, artists, scholars, critics, journalists, and politicians to the discussion of the bijin and to the production of a national discourse on standards of Japanese beauty and art. As Japan worked to establish its place in the world, it actively presented itself as an artistic nation based on these ideals of feminine beauty. The book explores this exemplary figure for modern Japanese aesthetics and analyzes how the deceptively ordinary image of the beautiful Japanese woman--an iconic image that persists to this day--was cultivated as a "national treasure," synonymous with Japanese culture.

"You have a complex and detailed aesthetic life. You make aesthetic decisions every day. You wake up, shower, and dress. When you decide what to wear, you think about how it feels and fits, how it expresses your style. You wander into the kitchen and think about what to eat. When you decide what to eat, you think about flavor, texture, smell. You head out into the world. You see your car, your bike, your shoes and appreciate how they look. When you decide what to buy, you think about how it will look in your house, or how it sounds or feels. You make aesthetic decisions every day-about what to listen to, what to watch, whether to arrange things just so, about how to sit, strut, or sing. You have aesthetic feelings and reactions every day. The sunset swings into view as you turn a corner and you think, "That's beautiful." A wave of calm and pleasure wash over you. You take a bite of cake and you think, "Wow, that's sweet." Maybe too sweet. You hear that new song and it blows you away. You play it on repeat and for your friends. You try the new restaurant and you think: "It's bland, boring, awesome, exciting, brilliant, bold." The novel is wonderful, the film disappoints, the dress looked better in the store. You have aesthetic feelings and reactions every day and these reactions move you through the world and shape your sense of self and well-being. You create aesthetic looks, atmospheres, and objects every day. When you dress you create an outfit that you put into the world. When you have friends over you play music, light a candle, arrange the dinner table, set a mood. You exercise aesthetic creativity when you design your tattoo, put on makeup, pierce your ear or nose, spritz cologne or perfume, or pay close attention to your hair. Almost everything you do has an aesthetic dimension-from the way you make your bed, prepare your coffee, and tie your shoes, to the way you speak to others and adjust photos to post on social media. You create aesthetic value every day. You have a complex and detailed aesthetic life that you orchestrate every day through your aesthetic decisions, reactions, feelings, and actions"--

Christopher Freeburg’s Black Aesthetics and the Interior Life offers a crucial new reading of a neglected aspect of African American literature and art across the long twentieth century. Rejecting the idea that the most dehumanizing of black experiences, such as lynching or other racial violence, have completely robbed victims of their personhood, Freeburg rethinks what it means to be a person in the works of black artists. This book advances the idea that individual persons always retain the ability to withhold, express, or change their ideas, and this concept has profound implications for long-held assumptions about the relationship between black interior life and black collective political interests. Examining an array of seminal black texts—from Ida B. Wells’s antilynching pamphlets to works by Richard Wright, Nina Simone, and Toni Morrison—Freeburg demonstrates that the personhood represented by these writers unsettles rather than automatically strengthens black subjects’ relationships to political movements such as racial uplift, civil rights, and black nationalism. He shows how black artists illuminate the challenges of racial collectivity while stressing the vital stakes of individual personhood. In his challenge to current African Americanist criticism, Freeburg makes a striking contribution to our understanding of African American literature and culture.

The Aesthetic Sense of Life is a fast-moving book about how to see the world and get value from living every day with the "everyday." Do the infinite number of sensations we're surrounded with every day have intrinsic value? If not, what gives them value? Who appreciates the sunrise if we don't? Is it enough for just us to appreciate it? Or do we have to share it? The Aesthetic Sense of Life considers and answers to questions such as these in clear, readable prose, offering a way of looking at life that makes clear its value and its meaning. The aesthetic sense of life is neither the viewpoint of the saints--for whom the sensations of the world are mere murmuring and illusion--nor the viewpoint of those completely fulfilled by their things, their gadgets, the particulars of their own lives. Most of us fall in the middle between these two extremes: we appreciate, say, a good cup of coffee, a power tool, a new set of towels, or a juicy steak, but don't think the answer to the riddle of existence is to be found in any of these. We appreciate them without thinking them sufficient. What's missing from them? What's missing is this: a sense that they can give meaning to life. The Aesthetic Sense of Life proposes that meaning is found not in these particulars, but in consciousness of the patterns they form. The feel of our towels or the taste of our coffee is just for us. Others have their own sensations, so they don't need ours. What we can share with other people, and thus use to re-establish the bonds of human warmth, are the patterns made by these particulars, something others can appreciate as well. Awareness of these patterns constitutes the aesthetic sense of life, which gives richness and meaning to the everyday.

This book explores the aesthetics of the objects and environments we encounter in daily life. Thomas Leddy stresses the close relationship between everyday aesthetics and the aesthetics of art, but places special emphasis on neglected aesthetic terms such as ‘neat,’ ‘messy,’ ‘pretty,’ ‘lovely,’ ‘cute,’ and ‘pleasant.’ The author advances a general theory of aesthetic experience that can account for our appreciation of art, nature, and the everyday.

Curriculum and the Aesthetic Life brings together over 20 years of scholarly work by dancer, educator, and scholar Donald S. Blumenfeld-Jones on the intersection of curriculum theory and practice with aesthetics, ethics, and hermeneutic inquiry, focusing on the body and emotions and the theory and practice of Arts-Based Education Research, including his noted «Hogan Dreams.» He brings to his work an aesthetic sensibility developed over 40 years of active involvement in the arts as well as a Frankfurt School critical theory orientation and a constant concern for building an ethical world through cultivating an aesthetic awareness. This linking of aesthetics and ethics makes a unique contribution to the theoretical foundations of curriculum theory and educational philosophy. Always concerned with connections to practice, this book provides many examples of curriculum practice and teaching as well as scholarly studies of curriculum work. This book is essential reading for anyone involved in the arts and education.

This collection explores the aesthetic qualities of human relationships, sports, taste, smell, food, and natural and built environments.