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Cultural Hybrids of (Post)Modernism

Japanese and Western Literature, Art and Philosophy

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Edited By Beatriz Penas-Ibáñez and Akiko Manabe

Cultural Hybrids of (Post)Modernism starts from the premise that the literary-cultural milieu we live in is characteristically hybrid. To develop that premise, the present volume focuses on explaining the strong impact that Japanese culture, especially Japanese aesthetics, bore on Western intellectuals, Modernist literary writers and artists from the second half of the nineteenth century onwards, and, conversely, the impact of Western modernity on Japanese cultural modernization from the Meiji Era onwards. Such intercultural contact has brought on a renewal of cultural formats that can be explained in terms of hybridity as regards both the aesthetic and the intellectual production of the artists and thinkers from Japan and the West throughout the twentieth century and to the present. The outcome of modernization was the creation of new cultural standards in Japan and the West and, with it, new ways of understanding pedagogy and education, a reconceptualization of the Nation versus the individual, a redefinition of the role of women in modernizing society, also a revision of philosophical thought and a new approach to the role of linguistic signs in the production of meaning.

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Re-emergence of the Encounter with Long-Haired Painters: The Hidden Influence of the Japanese Artists in The Garden of Eden Manuscripts (Hideo Yanagisawa)

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HIDEO YANAGISAWA

Re-emergence of the Encounter with Long-Haired Painters: The Hidden Influence of the Japanese Artists in The Garden of Eden Manuscripts*

1.    Introduction

In 2009, Scribner restored A Moveable Feast (1964) and published A Moveable Feast: The Restored Edition (hereafter “the restored Feast”). In a new chapter titled “Secret Pleasures” of the restored Feast, Ernest Hemingway recollects that he met long-haired Japanese painters in Paris in his early 1920s, wanted to grow his hair like them, and actually tried to do so. He even continues that Hadley, his first wife, approached him with the perverse idea of “matching haircuts” or having a similar hairstyle by her husband growing his hair the same length as hers.1

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