Michael Lucken is a professor at the National Institute of Oriental Languages and Civilizations in Paris. He is the author of L'Art du Japon au vingtieme siecle (Japanese Art in the Twentieth Century, 2001) and a coeditor of Japan's Postwar (2011).

• Introduction Part I. A Historical Construction 1. Copycat Japan 2. The West and the Invention of Creation 3. The Denial, Rejection, and Sublimation of Imitation 4. No Poaching 5. Seen from Japan 6. The Logic of Reflection in Nakai Masakazu Part II. A New Place for Imitation 7. Kishida Ryusei's Portraits of Reiko, or, How Can Ghosts Be at Work? 8. Kurosawa Akira's Ikiru, or, the Impossibility of Metaphor 9. Araki Nobuyoshi's Sentimental Journey-Winter, or, Eternal Bones 10. Miyazaki Hayao's Spirited Away, or, the Adventure of the Obliques Conclusion Notes Select Bibliography Index

Imitation and Creativity in Japanese Arts is a sophisticated and complex meditation on the nature of Japanese creativity and. by extension, on the nature of artistic creativity in general. Michael Lucken's writing is a performance, and it is dazzling. -- Thomas Rimer, coeditor, The Columbia Anthology of Modern Japanese Literature A well-written and rigorously researched analysis that is grounded in both Continental and Japanese theoretical literature. The book will offer a perspective that is fresh for many readers and will be a significant contribution to the current literature on modern Japanese art and visual culture. -- Jonathan Reynolds, Barnard College Lucken skillfully takes on the powerful and persistent stereotype of the Japanese as imitative and derivative. His erudite and measured treatment not only debunks this misrepresentation once and for all but also authoritatively demonstrates its insidious ideological legacy. -- Gennifer Weisenfeld, Duke University This book is an erudite, far-reaching, and deftly transnational inquiry into the philosophical bases and artistic practices of imitation and creativity. Lucken mounts an effective critique of one of the most fundamental underpinnings of discourses privileging Euro-American modernism and offers conceptual alternatives for rethinking modernist studies. This elegantly translated book is a must-read for anyone interested in modernism and is particularly essential for scholars working on multiple modernisms. -- Ming Tiampo, author of Gutai: Decentering Modernism Lucken questions the very 'orientalist' hegemonic structure of, in the words of Edward Said, 'grasping the other,' which has woven up the discourses on things Japanese in mutual dependence. Therefore, his book endeavors to overcome the dominant academic framework, which has been concocted in the midst of Western imperialism, and the reactions against it from the rest of the world. -- Shigemi Inaga, International Research Center for Japanese Studies Thoroughly documented, and including a select bibliography, Lucken's book is required reading for artists and for historians and connoisseurs of Japanese arts... Essential. Choice

Michael Lucken is a professor at the National Institute of Oriental Languages and Civilizations in Paris. He is the author of L'Art du Japon au vingtieme siecle (Japanese Art in the Twentieth Century, 2001) and a coeditor of Japan's Postwar (2011).

• Introduction Part I. A Historical Construction 1. Copycat Japan 2. The West and the Invention of Creation 3. The Denial, Rejection, and Sublimation of Imitation 4. No Poaching 5. Seen from Japan 6. The Logic of Reflection in Nakai Masakazu Part II. A New Place for Imitation 7. Kishida Ryusei's Portraits of Reiko, or, How Can Ghosts Be at Work? 8. Kurosawa Akira's Ikiru, or, the Impossibility of Metaphor 9. Araki Nobuyoshi's Sentimental Journey-Winter, or, Eternal Bones 10. Miyazaki Hayao's Spirited Away, or, the Adventure of the Obliques Conclusion Notes Select Bibliography Index

Imitation and Creativity in Japanese Arts is a sophisticated and complex meditation on the nature of Japanese creativity and. by extension, on the nature of artistic creativity in general. Michael Lucken's writing is a performance, and it is dazzling. -- Thomas Rimer, coeditor, The Columbia Anthology of Modern Japanese Literature A well-written and rigorously researched analysis that is grounded in both Continental and Japanese theoretical literature. The book will offer a perspective that is fresh for many readers and will be a significant contribution to the current literature on modern Japanese art and visual culture. -- Jonathan Reynolds, Barnard College Lucken skillfully takes on the powerful and persistent stereotype of the Japanese as imitative and derivative. His erudite and measured treatment not only debunks this misrepresentation once and for all but also authoritatively demonstrates its insidious ideological legacy. -- Gennifer Weisenfeld, Duke University This book is an erudite, far-reaching, and deftly transnational inquiry into the philosophical bases and artistic practices of imitation and creativity. Lucken mounts an effective critique of one of the most fundamental underpinnings of discourses privileging Euro-American modernism and offers conceptual alternatives for rethinking modernist studies. This elegantly translated book is a must-read for anyone interested in modernism and is particularly essential for scholars working on multiple modernisms. -- Ming Tiampo, author of Gutai: Decentering Modernism Lucken questions the very 'orientalist' hegemonic structure of, in the words of Edward Said, 'grasping the other,' which has woven up the discourses on things Japanese in mutual dependence. Therefore, his book endeavors to overcome the dominant academic framework, which has been concocted in the midst of Western imperialism, and the reactions against it from the rest of the world. -- Shigemi Inaga, International Research Center for Japanese Studies Thoroughly documented, and including a select bibliography, Lucken's book is required reading for artists and for historians and connoisseurs of Japanese arts... Essential. Choice

Michael Lucken is a professor at the National Institute of Oriental Languages and Civilizations in Paris. He is the author of L'Art du Japon au vingtieme siecle (Japanese Art in the Twentieth Century, 2001) and a coeditor of Japan's Postwar (2011).

• Introduction Part I. A Historical Construction 1. Copycat Japan 2. The West and the Invention of Creation 3. The Denial, Rejection, and Sublimation of Imitation 4. No Poaching 5. Seen from Japan 6. The Logic of Reflection in Nakai Masakazu Part II. A New Place for Imitation 7. Kishida Ryusei's Portraits of Reiko, or, How Can Ghosts Be at Work? 8. Kurosawa Akira's Ikiru, or, the Impossibility of Metaphor 9. Araki Nobuyoshi's Sentimental Journey-Winter, or, Eternal Bones 10. Miyazaki Hayao's Spirited Away, or, the Adventure of the Obliques Conclusion Notes Select Bibliography Index

Imitation and Creativity in Japanese Arts is a sophisticated and complex meditation on the nature of Japanese creativity and. by extension, on the nature of artistic creativity in general. Michael Lucken's writing is a performance, and it is dazzling. -- Thomas Rimer, coeditor, The Columbia Anthology of Modern Japanese Literature A well-written and rigorously researched analysis that is grounded in both Continental and Japanese theoretical literature. The book will offer a perspective that is fresh for many readers and will be a significant contribution to the current literature on modern Japanese art and visual culture. -- Jonathan Reynolds, Barnard College Lucken skillfully takes on the powerful and persistent stereotype of the Japanese as imitative and derivative. His erudite and measured treatment not only debunks this misrepresentation once and for all but also authoritatively demonstrates its insidious ideological legacy. -- Gennifer Weisenfeld, Duke University This book is an erudite, far-reaching, and deftly transnational inquiry into the philosophical bases and artistic practices of imitation and creativity. Lucken mounts an effective critique of one of the most fundamental underpinnings of discourses privileging Euro-American modernism and offers conceptual alternatives for rethinking modernist studies. This elegantly translated book is a must-read for anyone interested in modernism and is particularly essential for scholars working on multiple modernisms. -- Ming Tiampo, author of Gutai: Decentering Modernism Lucken questions the very 'orientalist' hegemonic structure of, in the words of Edward Said, 'grasping the other,' which has woven up the discourses on things Japanese in mutual dependence. Therefore, his book endeavors to overcome the dominant academic framework, which has been concocted in the midst of Western imperialism, and the reactions against it from the rest of the world. -- Shigemi Inaga, International Research Center for Japanese Studies Thoroughly documented, and including a select bibliography, Lucken's book is required reading for artists and for historians and connoisseurs of Japanese arts... Essential. Choice