and creativity as endemic to human enterprise, Lucken reminds us, should not be forgotten. And the notion of “residual components” as a defi ning feature of modern Japanese art and visual culture can be understood as not limited to Japan, but universal, particularly in allusions of death. That said, the book does not shy away from identifying key characteristics of modern Japanese culture. Japan, Lucken argues, has given rise to a particularly fl uid set of coordinates around which ideas about imitation and creativity have hovered. The book concludes with a claim that the possibilities of plasticity have been particularly important for modern Japanese artists and that originality has been pursued but then “overturned” in modern Japanese arts, with “harmony with reality” the ultimate conclusion (p. 205). Lucken’s book is a tour de force of art, aesthetic, and intellectual history that will undoubtedly stimulate more investigations of the vast fi elds of modern Japanese artistic production within the intellectual histories of Japan and beyond.

中文翻译：

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环境媒体：Paul Roquet 的日本自我氛围

Lucken 提醒我们，不应忘记人类企业特有的创造力。而作为日本现代艺术和视觉文化的定义特征的“残余成分”的概念可以被理解为不仅限于日本，而且是普遍的，尤其是在死亡的典故中。也就是说，这本书并不回避确定现代日本文化的关键特征。Lucken 认为，日本产生了一套特别流畅的坐标系，关于模仿和创造力的想法一直围绕着这些坐标系徘徊。这本书的结尾声称可塑性的可能性对现代日本艺术家来说尤为重要，并且在现代日本艺术中一直追求独创性但随后被“推翻”，最终结论是“与现实和谐相处”（第 205 页）。Lucken 的书是艺术的杰作，