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This thesis is an examination of the concept and the term "superflat" as it is elaborated by the Japanese artist Murakami Takashi in his writings, in the exhibition he curated under the same name, and in his own art. / Its aim is to contextualize Murakami's project on one hand in terms of a similar attempt to define a Japanese national aesthetic in the early 20 th century, and on the other in terms of the 1990's tendency to return to Edo Japan to find the "origins" of Japan's postmodernity. / Murakami's own art is then turned to in order to both elaborate on and test the aesthetic of Japanese art he calls the superflat. This examination of Murakami's art permits the formulation of an aesthetics of Japanese contemporary art and animation even as it will afford an understanding of the "cultural logic" of the digital age that informs Murakami's argument. / Questions important to this project are: Is the articulation of a local aesthetics possible in this globalizing age? What are the aesthetic traits of the digital age? How should the superflat---as both idea and project---be interpreted?

Thesis (Ph. D.)--University College, University of London, 1985. / BLDSC reference no.: DX194568. Includes bibliographical references.

Mémoire (M.A.)--Université du Québec à Chicoutimi, 1995. / Document électronique également accessible en format PDF. CaQCU

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2003. / Bibliogr.: f. 55-56. Document électronique également accessible en format PDF. CaQCU

Thesis (M.A.)--University of Akron, School of Family and Consumer Science: Clothing, Textiles, and Interiors, 2006. / "December, 2006." Title from electronic thesis title page (viewed 08/20/2007) Advisor, Virginia Gunn; Faculty readers, Sandra Buckland, Teena Jennings-Rentenaar; Director, School of Family and Consumer Science, Richard Glotzer; Dean of the College, James M. Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

In the late 1870's English society witnessed the rise of the aesthetic movement, a phenomenon which affected the art and literary worlds and which was characterized then and later as the pursuit of art for art's sake. The notoriety of the movement at the time obscured its exact limits and the origins of its ideas and values. The intellectual and literary side of the movement, especially the ideology of art for art's sake, attracted most notice and comment, yet the plastic arts of painting and industrial design were crucial to the theories of aestheticism and its impact on Victorian culture. This thesis examines those plastic arts, and the social and economic contexts in which they had a place, and their relationship to the aesthetic movement. The aim of this thesis is to describe the cultural context in which the aesthetic movement in the arts developed. The aesthetic movement came at a time when most critics would agree that Victorian design in the fine and industrial arts was at a low point, and did much to stimulate higher standards in both fields. The reasons for this failure and subsequent recovery have been incompletely researched and, I think as a result, incompletely understood. The social and economic changes in the fine and industrial art worlds form a large part of this study out of necessity and in dealing with the mechanism of the art markets, the changing status of the painter, the rise of the industrial designer and the growing activity of the middle-classes in the art world, I have attempted to demonstrate that the aesthetic movement was merely an offshoot of a larger cultural problem, a problem which the Victorians could not solve. Behind the aesthetic movement was the problem of reconciling the mechanism and mechanistic rhythms of modern society with art and the values which art represented, especially individualism, humanism and the knowledge of life sprung of faith rather than science. The solutions and compromises which earlier Victorians had accepted were no longer possible to many people in the 1870's. / Arts, Faculty of / History, Department of / Graduate