000			01453nam a22001697a 4500
999			_c39709 _d39709
020			_a9784924971417
082			_a721.83 _bRIK-T
100			_aRiko, Imahashi
245			_aThe akita ranga school and the cultural context in Edo Japan / _bImahasi riko
260			_a Japan _bInternational House of Japan Inc. _c2016
300			_axv, 425p. _bHardcover
520			_aagentive appropriation of existing models rather than slavish imitation or consumption.1Groemer has no time for this work, which he sees as merely lending “a cloak of intellectual and artistic respectability to even the most banal musical commodities by fi nding important sociocultural (rarely musical) meanings in standard formulae and trivial deviations, or by invoking the mantra of ‘constructions of identity’ . . . the ultimate justifi cation for everything” (pp. 211–12, my emphasis). This is strong, even dismissive, language and the reader is left wondering why Groemer takes just the last ten pages to develop these lines of argument instead of the whole book. A fuller articulation would have likely broadened the book’s appeal and helped clarify why the language of social constructionism is appropriate to Groemer’s analysis of the “consumptive subject” but not to the analysis of popular music in the work of others.
650			_aPainting, Japanese _zEdo period
650			_aJapan _zCivilization
700			_aMcCreery, Ruth S. _eTr.
942			_2ddc _cBK