@article{oai:nichibun.repo.nii.ac.jp:00000281,
 author = {MELI, Mark},
 journal = {Nichibunken Japan review : Journal of the International Research Center for Japanese Studies},
 month = {Jan},
 note = {In this work I look at the significance of the term 'aware' as used in Heian- period portry contest judgments (particularly those of Fujiwara Shunzei) and teratises concerning portry and literature.I take my start from the words of Motoori Norinaga, who claims that a successful poem will makes its audiencw feel aware, and from there attempt to analyze the historical role of the term in judging the good and bad in poetry (uta no zen'aku).It is pointed out that 'aware' in used in both a broad and a narrow sense.The former signifies general  aesthetic value in so much as a poem that displays aware in this sense is  moving; the latter indicates that specific enotional tones of sorrow, loneliness , or rity are expressed.The relationship between the two senses, which are not mutually exclusive, is also discussed, as are some basic elements of Shunzei's view of the good and bad in poetry.},
 pages = {37--91},
 title = {'Ahare' as a Critical Term in Classical Japanese Petics},
 volume = {13},
 year = {2001}
}