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Pathetic Beauty: Mono no Aware in Hollywood Cinema –To Family and Friends in These Estranged Times–

Mono no aware is considered to be one of the central-most Japanese aesthetics and distinctive to Japanese identity (Keene 1995; Miller 2011). This aesthetic standpoint finds wistful beauty in the transient, and is most often translated to ‘beauty in pathos’ or ‘the ah-ness of things’ (Hume 1995), as exemplified in the Heian-era classic, The Tale of Genji (Murasaki 1981). To the outside world, mono no aware is most commonly associated with cherry-blossom viewing, where the short-lived existence of the falling cherry blossom is seen as a metonym for contemplation of the beauty in the transience of life itself. Although this mode of aestheticization shares disinterested and contemplative characteristics with the Kantian pure aesthetic gaze (Hughes 2010), its focus on pathos would seem to be at odds with commonly understood platonic Western ideals of beauty and art (c.f. Clark 1972; Saito 2007). However, the current paper aims to elucidate how perceptions of beauty of the pathetic have also been an aspect of Western thought and aestheticization practices, since early Christian times, more prominently in the Romantic era and even in Hollywood cinema. This is of particular significance to the current paper as Hollywood is often seen as a global metonym for glamour–the apparent antithesis of Japanese traditional aesthetics, such as mono no aware. To this end, an examination will be made of expressions of pathetic beauty in Tom Ford’s (2009) award-winning Hollywood film, A Single Man, and how this relates to parallels in the development of aesthetic thought in the occident and Japan.

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A Study of the Origin, Acceptance, and International Spread of the ‘Symbol’ within the Constitution of Japan: Japan’s Approach to Restoring the Separation of Authority and Power

Article 1 of the Constitution of Japan stipulates a symbolic emperor system based on popular sovereignty, stating that “The Emperor shall be the symbol of the State and of the unity of the People, deriving his position from the will of the people with whom resides sovereign power.” In the post-war period, the symbolic emperor system of the Constitution of Japan developed in its own way through shrewd adaptation and harmonization with popular sovereignty, within the context of Japan’s particular political climate. Nineteenth-century European monarchies comprised several types of constitutional monarchy, such as the German-style “constitutional monarchy,” the British-style “parliamentary monarchy,” and the French-style “moderative power monarchy”. Comparable to these, the symbolic emperor system formed under the Constitution of Japan in the latter half of the 20th century can be said to present a new genre of modern monarchy that we may refer to as a “symbolic monarchy.” Based on this viewpoint, this article examines the structural shift to the symbolic emperor system of the Constitution of Japan from the Meiji Emperor system based on divine decree sovereignty, and the meaning and function of the “symbol” in the Constitution of Japan. Moreover, I will consider the origins of the symbolic emperor system and its traditional Japanese characteristics by examining the origin, acceptance, and international spread of the “symbol” provision in Article 1 of the Constitution of Japan.

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