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Research outside Japan on the history and significance of the Japanese visual arts since the beginning of the Meiji period (1868) has been, with the exception of writings on modern and contemporary woodblock prints, a relatively unexplored area of inquiry. In recent years, however, the subject has begun to attract wide interest. As is evident from this volume, this period of roughly a century and a half produced an outpouring of art created in a bewildering number of genres and spanning a wide range of aims and accomplishments. Since Meiji is the first sustained effort in English to discuss in any depth a time when Japan, eager to join in the larger cultural developments in Europe and the U.S., went through a visual revolution. Indeed, this study of the visual arts of the nineteenth and twentieth centuries suggests a fresh history of modern Japanese culture―one that until now has not been widely visible or thoroughly analyzed outside that country.

In this extensive collection, which includes some 190 black-and-white and color reproductions, scholars from Japan, Europe, Australia, and America explore an impressive array of subjects: painting, sculpture, prints, fashion design, crafts, and gardens. The works discussed range from early Meiji attempts to create art that referenced Western styles to postwar and contemporary avant-garde experiments. There are, in addition, substantive investigations of the cultural and intellectual background that helped stimulate the creation of new and shifting art forms, including essays on the invention of a modern artistic vocabulary in the Japanese language and the history of art criticism in Japan, as well as an extensive account of the career and significance of perhaps the best-known Japanese figure concerned with the visual arts of his period, Okakura Tenshin (1862–1913), whose Book of Tea is still widely read today.

Taken together, the essays in this volume allow readers to connect ideas and images, thus bringing to light larger trends in the Japanese visual arts that have made possible the vitality, range, and striking achievements created during this turbulent and lively period.

Contributors: Stephen Addiss, Chiaki Ajioka, John Clark, Ellen Conant, Mikiko Hirayama, Michael Marra, Jonathan Reynolds, J. Thomas Rimer, Audrey Yoshiko Seo, Eric C. Shiner, Lawrence Smith, Shuji Tanaka, Reiko Tomii, Mayu Tsuruya, Toshio Watanabe, Gennifer Weisenfeld, Bert Winther-Tamaki, Emiko Yamanashi.

• Sales Rank: #458798 in Books
• Brand: Brand: Univ of Hawaii Pr
• Published on: 2011-10-31
• Released on: 2011-10-31
• Original language: English
• Number of items: 1
• Dimensions: 9.90" h x 1.20" w x 7.00" l, 2.15 pounds
• Binding: Paperback
• 584 pages

Features

• Used Book in Good Condition

About the Author
J. Thomas Rimer is professor emeritus of Japanese literature at the University of Pittsburgh. He has been the author, editor, or translator of many books, most recently two co-edited volumes, Traditional Arts and Culture: An Illustrated Sourcebook (2006) and The Columbia Anthology of Modern Japanese Literature (2005).

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1 of 1 people found the following review helpful.
I think this book would be great for someone hoping to get a general idea about ...
By racheytonk
Nothing in this book is absolutely incorrect, but many ideas are framed in highly simplistic ways. This gives the reader a very watered-down impression of the events of the time. I appreciate the effort, and it was interesting to read, but every time I delved deeper into a subject from the book, I found that there was much more complexity than Since Meiji presents.

I think this book would be great for someone hoping to get a general idea about Japanese art since Meiji, but I don't recommend it as a reliable source for research.

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• Sales Rank: #202998 in Books
• Published on: 2015-10-06
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .45" w x 6.00" l, .60 pounds
• Binding: Paperback
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Are you ready to design the ax of your dreams? Unlike other DIY guitar making sources (which deal with woodworking, mostly) this book focuses on how to achieve astonishing looks, excellent playability and a killer sound. Written collaboratively with top luthiers from the U.S. and Europe, this inspiring book covers in depth each aspect of electric guitar design, plus topics not found on other sources, like: - How to design a classic, how to design a radical - Thousand-year wisdom applied on Stratocasters and Les Pauls - Secrets of sustain - How to create a well balancing guitar - Ergonomics - How to choose, match and place pickups - Control design - The 4 laws of wood selection ... And much more. These 220 pages will have you making sketches from the first read!

• Sales Rank: #86072 in Books
• Published on: 2010-10-11
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x .50" w x 8.00" l, .98 pounds
• Binding: Paperback
• 218 pages

About the Author
Leonardo Lospennato was born in Buenos Aires in '68–at the heart of an Italian family. He lives in Berlin, Germany, with his wife Andrea and with Tango, their black miniature schnauzer. Son of a manager and an artist, Leo became a bit of both when he started designing instruments and setting up a company to bring them to the market. Curious by nature and inspired by a Renaissance spirit, he became a computer engineer, pursued a masters degree in marketing and management, worked many years for companies like IBM and eBay on both sides of the Atlantic, and published articles as a journalist–all while adding English, Italian and German languages to his native Spanish along the way. Truth be told, the "Renaissance spirit" also shows up in the form of a shameless affair he maintains with Italian cuisine–a mix of heritage and hobby. But in the whole of this history, what remains a leitmotiv is his passion for the ancient art of creat-ing musical instruments, an infatuation that began when he put together his first bass, at 16. Creating something out of nothing. Searching for meaning. Chasing the utopia of perfection. Being a designer does not require much more than that. Nor anything less.

Most helpful customer reviews

7 of 7 people found the following review helpful.
Well written, well illustrated, and well considered.
By When I'm 64-bit
Not so much a "how-to do" guide as it is a "why to do" book.

You won't find any step-by-step instructions or how-to chapters. This book is about design. And as a result, it discusses topics such as ergonomics and playability as well as electronic configurations, wood choices, and scale lengths. The section on pickup wiring and impedences is easily worth the price of the book. As are the somewhat controversial opinions expressed in a few places. (ex: the argument that the body wood has the least possible effect on the overall tone. Which brings into question the whole assertion about the need to use expensive or exotic 'tonewoods' when constructing a high quality bass.)

If you simply want to build a high quality bass for your own use, this is probably not the book for you. Martin Koch's 'Building Electric Guitars: How to Make Solid-Body, Hollow-Body and Semi-Acoustic Electric Guitars and Bass Guitars' - which is also available from Amazon - is a much better choice.

However, if your goal is to craft something totally unique, or design your own line of professional instruments, this book is probably one of the best places to start. If for no other reason than it encourages you to start thinking about design and materials for yourself instead of simply accepting marketing opinions masquerading as established facts.

It's also extremely useful if you have no intention of ever building your own instruments. Knowledge is power. As is a reputation for genuinely knowing what you're talking about. Armed with the information found in this book, you can become a much more knowledgeable buyer - whether you're buying an instrument "off the rack" - or commissioning a custom built 'one-off' from a boutique builder.

Excellent book. Buy it, read it, and give some serious thought to the topics discussed in its pages. You don't need to accept everything in the book as gospel truth (which I certainly don't) to benefit enormously from it. As long as this book gets you to start thinking about things, and questioning received wisdom (something the authors themselves encourage you to do - including the opinions expressed in their own book) it will have accomplished its goal.

Highly recommended.

30 of 31 people found the following review helpful.
EXCELLENT BOOK. MUST HAVE.
By apswirl
If you are not a luthier and have any interest at all in learning about the inner workings of a guitar, this is a must read. Very easy and fast read. I finished it in a couple of days. What makes this book so valuable it that it breaks down why a guitar does what it does in a very simplistic manner. By teaching you how guitars are designed you will find yourself learning and appreciating the information in other books a great deal more. I also have Melvyn Hiscock's "Make Your Own Guitar" and Dan Erlewine's "Guitar Finishing Step by Step". Hiscock's book is an outstanding tool for putting it all together, but it a bit outdated in some aspects. Erlewine's book is the bible of guitar finishing. Enough said. However, this book gives you a high level, yet surprisingly technical breakdown of why it all matters. Understanding guitar design is invaluable if you want to pursue anything else with the other books. I think these three books combined should be read prior to buying your first body blank or tool. The knowledge you will acquire will help you plan better and make smart well-thought out purchases the first time. Electric Guitar and Bass Design should definitely be read first because Lospennato points out some very technical aspects of guitar making that I would not have considered with the other books. Building your first guitar should be like learning to play a guitar for the first time. You don't want to spend $500 on a new guitar only to find that it is not the guitar for you or that you don't like playing. For under $30, this book will give you so much valuable information you will know if making a guitar is really for you and you will be able to anticipate what your main obstacles will be.
Again, this is a very good read and you will not be disappointed. Even if you do not want to build a guitar and just want to learn how to take care of the guitar you currently own, this is a very useful reference. HIGHLY RECOMMENDED

1 of 1 people found the following review helpful.
4.5 stars. Slow start, but picks up and is helpful for planning a first build
By A.Firebrand
Picked up this and a few other books to prepare for my first build this summer. At first, it's fairly easy going and mostly observational. I'm not entirely sure that the chapters on needing inspiration etc are needed, but I suppose the book wouldn't be complete without them. Then it picks up rapidly. Some info in the book is available freely online (in fact, the author points you to a number of sites if you haven't done your own homework yet), but it's good to have it well organized along with other info in the book. The biggest thing this book has helped me with is starting to get a better grasp of the electronics.

If you're a first time builder, I recommend it highly. If you've built before, maybe, hard to say as you should know most of this stuff. I bought these books ( see below for the others) to replace a guitar design theory course that got cancelled (purpose of which is to make a blueprint that you then build in the next course (also cancelled, so I'll be on my own)). From what the teacher described the course as, this book does his work for him and saved me several hundred dollars and 10 hours of travel time, so I'm happy. Ever topic his list says was part of the course is addressed in this book.

This goes into good depth of the design theory stages, but doesn't cover much on the actual building (author states it's not his mission in this book). If you want more on building, the book make your own electric guitar by Melvin Hiscock is has a lot more info (it's a little dated - 2nd edition, maybe there is or will be a newer one). I've also picked up Martin Kochs's Building electric guitars (have not read it yet, but flipping through, it has a lot of build technique and pics - though they are small)

There are two things I wish the author would add to the book, though technically it would work better with an e-book version. He repeatedly makes reference to useful websites and I which he had pointed us towards one that focused on the electronics. This is easily the toughest part for me. I'm not always sure I understand the diagrams and would like either real life pics to match the diagrams or some sort of quizzes (could refer us online or put it in the book) to test my grasp on it. The second thing, which would have to be an online reference, or maybe a CD that comes with the book, would be audio samples of what these things sound like. It's great to show me how to set up a coil tap, but have no idea if that's the sound I want so do I include it n my design or not?.

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• Sales Rank: #2511599 in Books
• Published on: 2015
• Binding: Hardcover

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• Sales Rank: #3778795 in Books
• Brand: McGraw Hill
• Published on: 1960
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
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Advanced Metaprogramming in Classic C++: Third Edition, offers a detailed and somewhat intense look into template metaprogramming (TMP) using Classic C++ code examples. The two newer standards are not used in the code so that the examples can be rich, illustrate the point, and be run with confidence. The code can be readily adapted to include the elements of the Modern C++ standards. The gain for the reader is that TMP is presented in the book as a set of techniques that will enable a new style to your C++ coding while making it exceptionally clear and efficient.

The book deals with language aspects, design patterns, examples and applications (seen as case studies). Special emphasis is put on small reusable techniques that will improve the quality of daily work. This is a book to sit with and learn from. Users of it in prior editions point out that they come back to it over and over. This edition enhances the readability and clarity of the discussion.

The approach in the book is used to maximize compatibility and clearly illustrate the techniques, enabling the reader to comprehend difficult material without the burdens of compiler errors, and other unnecessary complexities and enabling a much more intense treatment of the subject. For those interested in Modern C++, all subsequent additions to the C++ language are fully compatible with the code in this book and users familiar with them can leverage the techniques introduced in C++XX to make the patterns in this book even more powerful. There is a chapter that discusses issues regarding the two newer standards and the basics needed to program for the newer standards are readily available online.

What makes the book exceptional is the level of understanding of the concepts involved imparted by the author. This is not just a rote overview of metaprogramming. You will truly understand difficult topics like static assertions, how to write metafunctions, overload resolution, lambda expressions, and many others. More than that, you will work through them with practical examples guided by the author's frank explanations. This book requires you to think and to learn and to understand the language so that you can program at a higher level.

What you’ll learn

• What templates and the small object toolkit are, and how to use them
• How to do overload resolution
• How to do metaprogramming with interfaces, algorithms, functors and refactoring
• How to work with code generators
• What is opaque type principle and how to use it
• How to work with debugging templates and more
• A chapter devoted to issues surrounding C++0x and C++14

Who this book is forThis book is for experienced C++ programmers who want to learn more.

• Sales Rank: #497499 in eBooks
• Published on: 2015-04-29
• Released on: 2015-04-29
• Format: Kindle eBook

About the Author
Davide Di Gennaro loves to introduce himself as a mathematician, but a better definition would be a philosopher. After studying history of art and functional analysis for some years, he switched to algorithm design and C++. He has been showing the marvels of metaprogramming techniques since the late nineties: as nobody could really understand him, he was eventually nicknamed "the professor". He works for big companies, where his real identity is ignored, and he spends his free time as a photographer. Someone said that "he makes the impossible possible".

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35 of 37 people found the following review helpful.
A Classic
By Marco Marcello
I initially approached this book with a bit of caution, as I had found other popular books I read previously on C++ templates quite heavy and mostly irrelevant to my day job.
But as soon as I read chapters 2 and 3 I realized this book is very different.
The first chapters explain in a clear way all that most people need to know about templates and template metafunctions,
and provide the reader with a very practical set of ideas that can immediately be implemented in the code you're working on.
For example, I started using static assertions and tagging almost immediately.
Then the real meat starts, with chapter 4 explaining in detail how to write metafunctions and then proceeding to overload resolution in chapter 5.
Before reading this, I thought this was mostly relevant to compiler writers, but Di Gennaro's explanation of how to exploit SFINAE was really useful
to me, in fact I started using only_if in my code on the same day I read the section.
After this, Advanced C++ Metaprogramming really gets "Advanced" and explains many practical ways of programming with templates,
ensuring that the most amount of computation is executed at compile time. There is a very good section on Lambda expressions, though I've not had the chance to use them yet.
Besides the tools that this book teaches, I think its biggest strength is that difficulty progression is so well calibrated that by the time I finished the book I really have become a better programmer. My way of thinking about my code has changed. Now I see new possibilities, and I try to see if things can be done at compile time using templates.
I will definitely put this book next to my other all-time favourite, Inside the C++ Object Model by Lippman.
Advanced C++ Metaprogramming has the potential to become a classic.

15 of 16 people found the following review helpful.
This is a *very* technical book, but a very good one
By willfe
This book is a mind-bender. Metaprogramming in C++ using templates is a "dark art" of its own, but this book helps demonstrate both the utility of it and shows loads of practical examples of what to do with it (and how). Do *not* expect to digest this book in a single sitting, or even in several. It is *thick* -- not just in terms of page count, but in terms of information density. It is certainly not "light reading." Expect instead to read and re-read sections at a time to fully grasp what's being discussed. Expect more success and understanding in reading this text when done while working with a compiler to actually test the concepts being presented as they're encountered. This is fun stuff, but it's thick and heavy stuff.

The book is self-published by its author, and it shows. There are spelling and grammar errors, the margins are a bit too narrow, and some text is hard to read because of the choice to use gradient backgrounds that get a little too dark. None of this matters, however -- the content of the book is outstanding and this kind of self-publishing is to be applauded and encouraged. In fact, I'd love to collaborate with this author (or others like him) on editing a second edition both to further my own understanding of metaprogramming and to improve the already good quality of this book.

22 of 29 people found the following review helpful.
A lot of info, A lot of mistakes
By Francisco
This is not a good book, plain and simple. It's not written professionally (also check Hao Xiong review), it's like a hacker listing of a bunch of tricks, they may be useful indeed, and it's a bit sad for a language one have to know so many, but it's badly written, badly printed. It was the worst print I got in my hands ever, and I think it'll be the only one to this point, I mean, it's literally crooked, it's not rectangular, its form is like a trapezium, all page contents are "floating", which means the margins are also irregular, expected since the book itself is irregular. It's a pretty amateur job.

There's overall lack of organization, you fell like getting trick after trick endlessly.

There's none, zero, mention of variadic templates and modern stuff. This book got released at the same epoch as c++11 and I expected it would talk a bit about it but no, it's like such a thing didn't even exist.

Mailing the author I got this opinion:

Author:
>The book is written for c++03.
>Most compilers don't support c++0x, and most companies don't allow c++0x code.
>So this goes against one of the main goals of the book, which is to be
>useful TODAY.

Me:
> With variadic templates, this could be unbounded, allowing you to declare a
> variable that can hold an instance of one of 100 types.
> And as stated in [...] for GCC:
> "Available as of 2006-09-13, revised on 2006-09-19"
> And in [...] for Clang:
> "Wed Jan 19 16:11:50 2011 CST: Variadic templates are fully implemented."

Author:
>gcc is not a compiler, it's a mess.

Me (actually dreaming):
>And in Visual Studio, which I bet will be there, on the next release.

Author:
>this is what I'm waiting for: when we both have a VS on our
>workstation that implements VT, then let's discuss again.

Me:
>And when I buy a book that states that advanced, I don't expect the author
>judging what I should *not learn* of advanced technics.

Author:
>nope, the reason why you buy a book is PRECISELY because the author,
>from his experience, is usually able to "judge" (i.e. pick and sort
>topics) much better than you would do by yourself. this is exactly why
>they invented such things called universities.
>what you describe here is probably "the encyclopedia of template
>metaprogramming", which is something that I haven't written yet

I'm so glad there's clang and gcc, at last they are able to actually work, and evolve.

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