El elogio de la sombra has ratings and reviews. °°°·.°·..·°¯°·._.· ʜᴇʟᴇɴ Ροζουλί Εωσφόρος ·._.·°¯°·.·°.·°°° said: Το εγκώμιο της σκιάς είναι έ. Results 1 – 30 of 96 Discover Book Depository’s huge selection of Junichiro-Tanizaki books online. Elogio de la sombra ; Sobre la indolencia ; Amor y pasión. Buy El elogio de la sombra by Junichiro Tanizaki, Julia Escobar Moreno (ISBN: ) from Amazon’s Book Store. Everyday low prices and free.
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This book is not yet featured on Listopia. The preference for a pensive luster to a shallow brilliance. The right heating system. Every detail to avoid the disruption of harmony in a Japanese room. An almost imperceptible line between an extremely refine taste and the subtlety of irony. We delight in the mere si The preference for a pensive luster to a shallow brilliance.
We delight in the mere sight of the delicate glow of fading rays clinging to the surface of a dusky wall, there to live out what little life remains to them. We never tire of the sight, for to us this pale glow and these dim shadows far surpass any ornament. So much space beholding the magnificence of a dim light on a particular spot, barely illuminating the serene twilight that those walls are made of. Could this book be applied to people? But that is subject to one’s personality.
You could be the reserved, darkened room. And that would be fine. A book on beauty has its share of ugliness; people’s skin and supposed degrees of purity.
Above all, an essay that exalts the enigmatic candlelight. The particular beauty of a candle emanating a delicate brilliance that timidly embellish a silent room. A most idyllic view under its mystical light. Nothing loud but the silence. A universe in your thoughts. The encounter with yourself under the tenuous radiance of a candle, evoking a somber night, the bright moon a world is gazing at. Eloglo sound of the rain playing gently with the dusky light of a candle.
View all 21 comments. Never had this annoyingly bright screen and the artificial bulb that lights up the sultry room where I am typing these words seemed more unappealing or devoid of grace to me. View all 36 comments. The subtle chase between you and the devious shadow; toughening with tahizaki stomp on the dried grey asphalt while queries of whether you have lost your marbles looming in the humid air.
Deer prancing, jumping rabbits, sluggish turtles and eagles elogi to the sky on a sunlit wall; an ecstatic scuffle of shadow -animals cheers up the dull wall. Emulate the avian hand creation in front of a mirror and observe the beauty of an eagle being dissected into shreds by an illuminated reality, the nimble fingers crumbling in a preposterous sway that had earlier been proudly celebrating the mystified flight of an eagle.
The beauty of the shadow crumbles into the clarity of sombta luminous mirror, leaving the tangible fantasy of the hand-made animals to die away smbra sharpness of the vision. The softness of an object is highlighted through the shades of darkness; its beauty enhanced through an array of radiated nuances, the shadows cultivating a life of their own.
For as long as my grandfather was alive, one of the bathrooms in our house had an Indian toilet installation that remained sombrw through several rounds of renovations. As much as I despised the functioning of an Indian toilet, my grandfather loathed its English counterpart. A man who strictly sombraa on my cursive elkgio, my domestic and public etiquette, the immaculate English pronunciations and everything that spelled the norms of a Western cultural demeanor, was never able to let go his toilet preferences.
That was the ultimate defining line that demarcated me and my grandfather standing apart in two different worlds.
And surely there could be no better place to savor this pleasure than a Japanese toilet where, surrounded by tranquil walls and finely grained wood, sobra looks out upon blue skies and green leaves.
A toilet is indeed the most important element of an architectural mores. The shadows of the past intensify as we age, the dormant beauty exploding actively, flooding the superciliousness of time with melancholic meekness. And so it has come to be that the beauty of a Japanese room depends on a variation of shadows, heavy shadows against light shadows — it has nothing else For nearly years, although not entirely secluded under the Sakoku policy, Japan still remained culturally aloof from the world until the late The entry of strange foreign world bringing in their aspect of cultural modernization further propelled the Japanese cultural to staunchly hold on to its ethnicity, culturally and philosophy.
Tanizaki dilemma of surviving the bane of modernization while hanging onto the boons of the old Japanese edifying era is articulated through his annoyance of the necessitated usage of heavy electric lightings. The peculiarity of shadows through which the beauty of an object excels seems to be diminishing with the onset of modern times. Shadows form an integral part of Japanese traditional aesthetic and in the subsequent cyclic philosophy of concealment and revelation through a game of shadows the crucial beauty becomes highly seductive.
Tanizaki applies this theoretical perception while arguing the essence of shadow through exemplary significance of electric heaters, architecture, theater, food, ceramics and lacquerware, literature, radio, music systems, the intricacies of Japanese way of life in accordance to its populace and elgoio to the extent of comparing a fountain pen to the tanizaik of a Japanese calligraphy brush swaying gracefully on a boisterous, coarse paper.
The Japanese architectural aesthetic is greatly eloglo on the wabi-sabi philosophical foundation of impermanence and imperfection. The wooden pillar withered through the tantrums of changing seasons, ageing into oblivion equates to a wrinkled face, the shadows dwelling the wrinkly creases, augmenting the beauty of the face that has weathered the rambunctious life exemplifying that nothing is permanent, not even the tautness of a youthful skin and yet in those imperfect shadows of ugly deep wrinkles lay an unconventional beauty of perfection.
The philosophical notion of the universe being created from nothingness and in due course all living organism will disintegrate into the darkness of oblivion, bestows the world of shadows with a spirituality of aesthetic ideals where the humility d imperfection and reticence of impermanence expunge the haughtiness of illuminated perfection.
The need for modern element ekogio from the dire circumstances of an evolving world. Tanizaki makes a valid case when he asserts how in order to survive in this transforming cultural avenues, the conventional cultural norms could be well followed if one lived in solitude away from the nitty-gritty of the city life.
This adherence was certainly not possible to those residing and working in the cities. Tanizaki elaborates an interesting debating subject dissecting the fundamentals of Japanese theater, distinguishing the reputable model and modus operandi of Noh and Kabuki revolving around the world of shadows depicting the mysterious aura that surrounds the theatrical performances.
The silhouette of the Noh mask resting on the curious neck of the stage actor performing the play brings an outwardly mystery to the person behind the mask. It is as if you desire to remove the mask off the face exposing the vulnerabilities and apprehension of the actor contrasting that of its stage character. And, yet you fear that the rigid revelation tanizako destroy the beauty that lingers for hours after the end of the final act. So you decide to sit back and take utter delight in the immaculate performancethe beauty of the Noh enhanced amid the shadows of the mask, its mystery deepening dr the crimson flush swept across the underneath skin.
The apprehensions of the Noh theatre installing high voltage lightings for the viewing comfort in large auditoriumbrings dismay to Tanizaki about the worrisome future of Noh losing sombga true beauty in such extravagant set up. The possibility of the diminishing aesthetical darkness tnaizaki had once augmented the veiled beauty of Taizaki into a mystical world of realistic fantasy is feared with raging odds of the regal art being another commonplace sommbra facade.
The spirit of nationalism takes centre stage as this promising composition connotes the significance of shadows deeply embedded in the Japanese cultural heritage. Tanizaki has his comical moments when he equates the affinity of the Japanese philosophies towards darkness to the inheritances of dark black hair of the populace. Another humorous anecdote comes up in the afterword penned by Thomas J. Tanizaki tells a story of when her late husband decided, as he frequently did, to build a new house.
Tanizaki, and know exactly what you want. But, still this aspect goes through scrutiny of a civilized lens of judgments. Eloquently, Tanizaki elucidates lx tantalizing aura of Japanese cuisine asserting the glorious food to be a form of meditation. The sweetened jelly concocted from red bean paste is rather splendid with its semi-translucent structure; the opaque tinted shadows that hover on this confectionery bring a pleasurable aura to its velvety consistency.
The pondering Japanese palate finds luxuries in the delicate flavours of the regional cuisine. The dee moulded sake soaked vinegar laced rice with a subtle hint of salt beneath a thinly sliced salmonits aromatic oil spreading in the shadows of a wrapped persimmon leaf.
Once again, through the enticing bite-sized sushi embraced in the green blanket of the persimmon leaf, Tanizaki elaborates the quintessence of minimalism and simplicity rooted in Japanese traditions seeping through its culinary arts. Similar to the simplistic country life, the taste of the food is amplified by minimalist arrangement of ingredient deriving the so,bra pleasure through its consumption and not being ruined by overcrowding of flavours, like the boisterous crowded city life.
The beauty of the moon is at its best at the darkest of the night. Darkness is an indispensable element of the beauty of lacquerware. The golden tint engraved into the creative depths of the lacquerware radiation taanizaki regal opulence through the maze of shadows.
The calligraphy brush elegantly amusing in the black shadows of India Ink disciplines the noisy paper as the fountain pen eagerly look to the embryonic stroke of the character kage shadowsits gray shades discovering the tanizki beauty on the dim walls of Japanese literaturearts and legacy.
View all 44 comments. Tanizaki appreciates the world and its ordinary pleasures, e offers a sharp contrast to the functional, plastic, disposable aesthetic of modern western culture. Although his aesthetic is associated with a cultural perspective markedly different from se varieties, there is nevertheless something essentially familiar about it.
It addresses the felt quality of experience in any lived moment, not just as an end in itself but because each such moment belongs to a lifelong series in which beauty and richness of experience are important components of the good life.
A tranquil, enchanting, and light read, Tanizaki really opens your eyes, where you just want to take a moment, sit back, relax, and think long and hard about oa he is getting across. I guess you could look at this as an anti-modernist book, that floats with a poetic language over a range of things in a beautiful and evocative way. A fascinating insight into another culture, that illuminates the mind into thinking about things from a completely different angle.
View all 4 comments. He begins his essay with an example I can totally relate tanizaoi. I so get this. I wish I could hide all my electrical wires too. There are so many of them, not to mention all the LED lights from appliances that once were luxuries and now are necessities.
He just wishes they could have been designed with a Japanese sensibility in mind. He thinks that if these same laa had been developed by the Japanese, they would be more in harmony with Japanese taste.