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Gathering for the 1st time all of Claude Lévi-Strauss’s writings on eastern civilization, The different Face of the Moon kinds a sustained meditation into the French anthropologist’s dictum that to appreciate one’s personal tradition, one needs to regard it from the perspective of another.

publicity to eastern paintings was once influential in Lévi-Strauss’s early highbrow progress, and among 1977 and 1988 he visited the rustic 5 instances. The essays, lectures, and interviews of this quantity, written among 1979 and 2001, are the made of those trips. They examine an spectacular diversity of subjects—among them Japan’s founding myths, Noh and Kabuki theater, the uniqueness of the japanese musical scale, the artisanship of Jomon pottery, and the connection among eastern photograph arts and food. For Lévi-Strauss, Japan occupied a distinct position between global cultures. Molded within the historic previous by means of chinese language affects, it had extra lately integrated a lot from Europe and the USA. however the substance of those borrowings was once so conscientiously assimilated that eastern tradition by no means misplaced its specificity. as if seen from the hidden aspect of the moon, Asia, Europe, and the United States all locate, in Japan, pictures of themselves profoundly transformed.

As in Lévi-Strauss’s vintage ethnography Tristes Tropiques, this new English translation provides the voice of 1 of France’s so much public intellectuals at its such a lot personal.

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In order that not anyone ever knew his mystery other than the tailor who made the turban. He, in fact, was once given the strictest orders to inform no one. trustworthy servant of the King although he used to be, the * Helen C. McCullough, Okagami: the good reflect, a research and Translation (Prince­ton: Prince­ton college Press, 1980), p. sixty five. † IryŸn, Samguk Yusa: Legends and His­tory of the 3 Kingdoms of old Korea, translated by means of Ha Tae-­Hung and Grafton ok. Mintz (N. p. [Rockville, Md. ]: Silk Pagoda, 2006), p. 106. 88 herodotus in the china sea tailor was once constantly laid low with his lack of ability to talk of this unusual and distinctive occasion. Fi­nally he grew to become ailing and was once obliged to move for a leisure to Torim Temple at the outskirts of Kyonju. in the future he got here out into the again backyard of his temple by myself and unattended . . . due to the fact no-­one was once inside earshot, he plunged by surprise right into a bamboo grove within sight and shouted time and again on the best of his voice, “My King has lengthy ears like a donkey! ” Then, having ultimately received peace of brain, he fell lifeless instant. Ever later on, while the wind blew via this actual bamboo grove, the sound it made looked as if it would say “My King has lengthy ears like a donkey. ” . . . eventually it reached the King’s lengthy ears. He . . . ordered the bamboos reduce and hands planted of their position. This was once performed and the arms grew quickly. but if the wind blew via them they sang “My King has lengthy ears . . . ” losing the final 3 phrases. . . . Torim-­sa fell into decay. yet new shoots grew up from the roots of the bamboos which were reduce and folks took cuttings to plant of their gardens so they may well listen the music they sang, and so they did likewise with the hands. 89 herodotus in the china sea types of the Midas tale proliferated within the folklore of Mongolia and Tibet. * Their attainable arrival in Korea and Japan isn't prob­lematic. there's for this reason no cause to imagine that the presence of the tale of Croesus at the Okinawa Islands poses a prob­lem both. Buddhism, which integrated such a lot of Hellenic and Hellenistic parts, can have introduced motifs originating in Greece to the a long way East. or maybe the fatherland of the protagonists—Lydia in a single case, Phrygia within the other—is a clue that the 2 narratives have their aspect of starting place in Asia, from which they can have traveled in either instructions. * R. A. Stein, Recherches sur l’épopée et le barde au Tibet (Paris: PUF, 1959), pp. 381–383, 411–412. ninety Photo by way of Junzo Kawada. Copyright © 2011 Éditions du Seuil, “La Librairie du XXIe siècle. ” picture through Junzo Kawada. Copyright © 2011 Éditions du Seuil, “La Librairie du XXIe siècle. ” Photo by means of Junzo Kawada. Copyright © 2011 Éditions du Seuil, “La Librairie du XXIe siècle. ” photograph through Hindenobu Junnai. Copyright © 2011 Éditions du Seuil, “La Librairie du XXIe siècle. ” Photo by way of Toru Haga. Copyright © 2011 Éditions du Seuil, “La Librairie du XXIe siècle. ” Photo via Junzo Kawada. Copyright © 2011 Éditions du Seuil, “La Librairie du XXIe siècle. ” picture by way of Machiko Ogawa.

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