Search results for ""Author Miryam""

In Feeling Media Miryam Sas explores the potentialities and limitations of media theory and media art in Japan. Opening media studies and affect theory up to a deeper engagement with works and theorists outside Euro-America, Sas offers a framework of analysis she calls the affective scale—the space where artists and theorists work between the level of the individual and larger global and historical shifts. She examines intermedia, experimental animation, and Marxist theories of the culture industries of the 1960s and 1970s in the work of artists and thinkers ranging from filmmaker Matsumoto Toshio, photographer Nakahira Takuma, and the Three Animators' Group to art critic Hanada Kiyoteru and landscape theorist Matsuda Masao. She also outlines how twenty-first-century Japanese artists—especially those responding to the Fukushima disaster—adopt and adapt this earlier work to reframe ideas about collectivity, community, and connectivity in the space between the individual and the system.

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In Feeling Media Miryam Sas explores the potentialities and limitations of media theory and media art in Japan. Opening media studies and affect theory up to a deeper engagement with works and theorists outside Euro-America, Sas offers a framework of analysis she calls the affective scale—the space where artists and theorists work between the level of the individual and larger global and historical shifts. She examines intermedia, experimental animation, and Marxist theories of the culture industries of the 1960s and 1970s in the work of artists and thinkers ranging from filmmaker Matsumoto Toshio, photographer Nakahira Takuma, and the Three Animators' Group to art critic Hanada Kiyoteru and landscape theorist Matsuda Masao. She also outlines how twenty-first-century Japanese artists—especially those responding to the Fukushima disaster—adopt and adapt this earlier work to reframe ideas about collectivity, community, and connectivity in the space between the individual and the system.

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How can a movement like Surrealism be transferred, transplanted, or transported from one culture to another, one language to another? This book traces the creative dialogue between France and Japan in the early twentieth century, focusing on Surrealist and avant-garde writings. It opens a theoretical treatment of cultural memory, influence, visuality, writing, nostalgia, and nation to suggest a new perspective for the reading of modern Japanese culture and cross-cultural interactions. The author argues that the problem of literary influences should be recast as a problem of cultural memory, where analysis of causes and effects gives way to a deeper analysis of displacements and aftershocks, which she calls cultural “fault lines.” The book analyzes the writings of Takiguchi Shuzo, Nishiwaki Junzaburo, Kitasono Katsue, and others whose work was associated explicitly with the Surrealist movement in Japan. It also incorporates readings of other experimental works and postwar performances that reflect the wider impact of these avant-garde ideas. The author argues that a vision of alterity, a foreign space located somewhere beyond, plays a crucial role in formulations of avant-garde praxis in both the Japanese and French contexts. Here exploration of Japanese notions of the Surreal, calling for a rereading of received notions about French avant-gardes, leads to a reconfiguration of this period, written less as a narrative history of literature than as the nonlinear route of a multivalent dialogue. Japanese Surrealism is important both for the specific questions it raises and for its exemplary place as an encounter between cultures, literary movements, and languages. As a movement that challenges and breaks apart clear and bounded conceptions of language, poetry, and the transmissibility of meaning, Japanese Surrealism reframes the relation between content and consciousness and is thus a particularly strong and revealing case of cultural interaction. What this avant-garde encounter makes apparent is that inherent discontinuities and fragmentations within individual cultures can also become crucial opportunities for productive intersections between distant realities and distant cultures.

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Miryam T. Brand explores how texts of the Second Temple period address the theological problem of the existence of sin and describe the source of human sin. By surveying the relevant Apocrypha, Pseudepigrapha, and Dead Sea Scrolls, as well as the works of Philo and (where relevant) Josephus, the study determines the extent to which texts presentation of sin is influenced by genre and sectarian identification and identifies central worldviews regarding sin in the Second Temple period. The analysis is divided into two parts; the first explores texts that reflect a conviction that the source of sin is an innate human inclination, and the second analyzes texts that depict sin as caused by demons. The author demonstrates that the genre or purpose of a text is frequently a determining factor in its representation of sin, particularly influencing the texts portrayal of sin as the result of human inclination versus demonic influence and sin as a free choice or as predetermined fact. Second Temple authors and redactors chose representations of sin in accordance with their aims. Thus prayers, reflecting the experience of helplessness when encountering God, present the desire to sin as impossible to overcome without divine assistance. In contrast, covenantal texts (sectarian texts explaining the nature of the covenant) emphasize freedom of choice and the human ability to turn away from the desire to sin. Genre, however, is not the only determining factor regarding how sin is presented in these texts. Approaches to sin in sectarian texts frequently built upon already accepted ideas reflected in nonsectarian literature, adding aspects such as predestination, the periodization of evil, and a division of humanity into righteous members and evil nonmembers. Miryam T. Brand explores how texts of the Second Temple period address the theological problem of the existence of sin and describe the source of human sin. By surveying the relevant Apocrypha, Pseudepigrapha, and Dead Sea Scrolls, as well as the works of Philo and (where relevant) Josephus, the study determines the extent to which texts presentation of sin is influenced by genre and sectarian identification and identifies central worldviews regarding sin in the Second Temple period. The analysis is divided into two parts; the first explores texts that reflect a conviction that the source of sin is an innate human inclination, and the second analyzes texts that depict sin as caused by demons. The author demonstrates that the genre or purpose of a text is frequently a determining factor in its representation of sin, particularly influencing the texts portrayal of sin as the result of human inclination versus demonic influence and sin as a free choice or as predetermined fact. Second Temple authors and redactors chose representations of sin in accordance with their aims. Thus prayers, reflecting the experience of helplessness when encountering God, present the desire to sin as impossible to overcome without divine assistance. In contrast, covenantal texts (sectarian texts explaining the nature of the covenant) emphasize freedom of choice and the human ability to turn away from the desire to sin. Genre, however, is not the only determining factor regarding how sin is presented in these texts. Approaches to sin in sectarian texts frequently built upon already accepted ideas reflected in nonsectarian literature, adding aspects such as predestination, the periodization of evil, and a division of humanity into righteous members and evil nonmembers.

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How can a movement like Surrealism be transferred, transplanted, or transported from one culture to another, one language to another? This book traces the creative dialogue between France and Japan in the early twentieth century, focusing on Surrealist and avant-garde writings. It opens a theoretical treatment of cultural memory, influence, visuality, writing, nostalgia, and nation to suggest a new perspective for the reading of modern Japanese culture and cross-cultural interactions. The author argues that the problem of literary influences should be recast as a problem of cultural memory, where analysis of causes and effects gives way to a deeper analysis of displacements and aftershocks, which she calls cultural “fault lines.” The book analyzes the writings of Takiguchi Shuzo, Nishiwaki Junzaburo, Kitasono Katsue, and others whose work was associated explicitly with the Surrealist movement in Japan. It also incorporates readings of other experimental works and postwar performances that reflect the wider impact of these avant-garde ideas. The author argues that a vision of alterity, a foreign space located somewhere beyond, plays a crucial role in formulations of avant-garde praxis in both the Japanese and French contexts. Here exploration of Japanese notions of the Surreal, calling for a rereading of received notions about French avant-gardes, leads to a reconfiguration of this period, written less as a narrative history of literature than as the nonlinear route of a multivalent dialogue. Japanese Surrealism is important both for the specific questions it raises and for its exemplary place as an encounter between cultures, literary movements, and languages. As a movement that challenges and breaks apart clear and bounded conceptions of language, poetry, and the transmissibility of meaning, Japanese Surrealism reframes the relation between content and consciousness and is thus a particularly strong and revealing case of cultural interaction. What this avant-garde encounter makes apparent is that inherent discontinuities and fragmentations within individual cultures can also become crucial opportunities for productive intersections between distant realities and distant cultures.

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"[Matcha] has taken the beverage world by storm as an ingredient in smoothies and baked goods, as a coffee replacement and even in face masks.​" —The New York Times In The Healthy Matcha Cookbook, food blogger and dietitian Miryam Quinn-Doblas explores the various ways matcha powder—a main component of green tea—can be incorporated into everyday recipes to give your immune system the boost it needs to keep you healthy. The health benefits of matcha powder far exceed those of green tea in drink form. The more than sixty recipes in this cookbook are easy to prepare and feature fresh, high-quality ingredients that aim to incorporate matcha powder, a powerful antioxidant, into the diet. This cookbook will take each reader on a healthy cooking journey with 60+ foolproof recipes such as: Creamy kale tomato pasta Curried coconut broccoli soup Chocolate chunk cookies Breakfast frittatas and muffins Energy truffles and bars And many more! If you want to feel better, have more energy, and decrease the amount of toxins in your body, The Healthy Matcha Cookbook is a great resource that will help you restore and strengthen your mental and physical health. This is a beautiful guide that offers home cooks of all levels the chance to transform meals into satisfying, wholesome, healthy food using one of the world’s most popular superfoods.

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