To see the other types of publications on this topic, follow the link: Japanese aesthetic.
Dissertations / Theses on the topic 'Japanese aesthetic'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 44 dissertations / theses for your research on the topic 'Japanese aesthetic.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Inoue, Hiroshi. "Japanese aesthetic principles & their application." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1116356.
Full textAbstract:
Japanese have been known to have a special notion toward the aestheticism which deals with human experiences. They are ingenious about finding subtle beauty within every little thing which exists in nature and apply that to their architecture. What are the secrets behind all this? This thesis focuses on the research of Japanese aesthetic principles to find out the way for application in the architecture in the United States.Department of Architecture
2
Athanasiadis, Basil. "The Japanese aesthetic of Wabi Sabi and its potential in contemporary composition." Thesis, University of Kent, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498818.
Full text
3
許如珍 and Yu-chun Lorena Hui. "Japanese Noh theatre: the aesthetic principleof Jo-ha-kyu in the play Matsukaze." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31222729.
Full text
4
Steinberg, Marc A. "Emerging from flatness : Murakami Takashi and superflat aesthetics." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33929.
Full textAbstract:
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?
5
Hui, Yu-chun Lorena. "Japanese Noh theatre : the aesthetic principle of Jo-ha-kyu in the play Matsukaze /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B21791004.
Full text
6
Torniainen, Minna. "From austere wabi to golden wabi philosophical and aesthetic aspects of wabi in the Way of Tea /." Helsinki : Finnish Oriental Society, 2000. http://catalog.hathitrust.org/api/volumes/oclc/45347289.html.
Full text
7
Carr, Harriet Christian. "Sweet Briar, 1800-1900: Palladian Plantation House, Italianate Villa, Aesthetic Retreat." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/91.
Full textAbstract:
Sweet Briar House is one of the best documented sites in Virginia, with sources ranging from architectural drawings and extensive archives to original furnishings. Sweet Briar House was purchased by Elijah Fletcher, a prominent figure in Lynchburg, Virginia, in 1830. Thirty years later it passed into the possession of his daughter Indiana Fletcher Williams, and remained her home until her death in 1900. In her will, Williams left instructions for the founding of Sweet Briar Institute, an educational institution for women that exists today as Sweet Briar College. This dissertation examines Sweet Briar House in three distinct phases, while advancing three theses. The first thesis proposes that the double portico motif introduced by Palladio at the Villa Cornaro in the sixteenth century became the fundamental motif of Palladianism in Virginia architecture, generating a line of offspring that proliferated in the eighteenth century and beyond. The Palladian plantation (Sweet Briar House I, c. 1800) featured this double portico. In 1851, following the return of the Fletcher children from an extended Grand Tour of Europe, the house was remodeled as an Italianate villa (Sweet Briar House II, 1851-52). The second thesis advances the contention that by renovating their Palladian house into an asymmetrical Italianate villa, the Fletcher family implemented an ideal solution between the balanced façade that characterized the Palladian Sweet Briar House I and the fashion for the Picturesque that dominated American building in the second half of the nineteenth century. In 1876, the Williams family traveled to the Centennial Exhibition in Philadelphia, where visitors were presented with an unimaginable array of artistic possibilities from countless eras and nations, exactly the conditions that the Aesthetic Movement needed to flourish in America. The third thesis maintains that the Williams family’s decision to transform Sweet Briar House into an Aesthetic Movement retreat was inspired by their reaction to the Centennial, and in particular by their appreciation for the Japanese objects presented there.
8
Silva, Hiroko Hashimoto da. "A estética do espaço na obra Pôr-do-Sol, de Dazai Osamu." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-31082010-143013/.
Full textAbstract:
Esta pesquisa visa analisar a estética do espaço e a estética literária empregadas na narrativa da obra Pôr-do-Sol, de Dazai Osamu, bem como resgatar a essência da cultura japonesa contemporânea de um Japão devastado pela Segunda Guerra Mundial, onde o autor expressa toda a sua sensibilidade poética. Este trabalho baseia-se na pesquisa biográfica de Dazai Osamu, com ênfase ao momento histórico que o autor testemunhou e onde realizou suas escritas, visando o levantamento da iconografia, pictografia e metonímia na linguagem de sua obra. Através deste estudo buscam-se os elementos que o enquadrem no gênero literário denominado Romance do Eu e as influências exercidas pelo Naturalismo europeu e movimentos sociais em sua carreira literária por meio da análise da hereditariedade, das influências do meio social no ambiente da obra e a estética literária empregada em sua técnica narrativa. O estudo desenvolvido demonstra as interferências ocidentais na Literatura Japonesa através da intertextualidade de obras japonesas e ocidentais, que dialogam entre si, e apresentam uma narrativa ao redor da estética do espaço na obra Pôr-do-Sol, retratando a essência humana, o irracional, as emoções, o onírico, as alegrias e desilusões inerentes a todos os seres humanos, principalmente na sociedade japonesa do período histórico do pós-guerra.This research seeks analyze Dazai Osamu\'s spatial aesthetics and his literary style, which was used in his novel Setting Sun, besides to bring off essence of Japan Contemporary Culture, that was devastated in this country due to World War II. Another point of this study is the narrative aesthetics, where the writer expresses his poetic sensitiveness. This study is based on Dazai Osamu\'s autobiographic research, emphasizing a historical moment of Japan, which he witnessed and finished his writings despite of war; in his novel, Dazai aimed the language of: iconography survey, pictorial survey and metonymy language. This study will search for elements that fit in the literary genre named I Novel, as well as influences the writer suffered from European Naturalism and social movements in his literary carrier; Dazai analyzed the heredity and the influences of social means described in atmosphere of his work and the literary aesthetic (spatial) carried out in his narrative techniques. The study developed here points out western interference in Japanese literature, which can be noticed in the inter-textuality of literary works between west and east, that inter-act itself; therefore introduces a narrative related to spatial aesthetic in the Setting Sun which the writer describes the essence of human beings´nature such as: irrational feelings, the emotions, the day-dreams, the cheerfulness and disappointments, inherent in whole human beings, especially in the Japanese society in certain historical time after war.
9
Fischer, Cynthia. "Thomas Jeckyll, James McNeill Whistler, and the Harmony in Blue and Gold: The Peacock Room: A Re-Examination." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3301.
Full textAbstract:
This dissertation uncovers three previously unrecognized innovations of Thomas Jeckyll in the Peacock Room. At the same time, the dissertation admits that sometimes James McNeill Whistler chose a more conventional path in the design of the room than previously acknowledged. The dissertation illuminates the often overlooked principle of Classical Decor, first described in the first century BC by Vitruvius, and analyzes how it was instituted in the Peacock Room. Four major points illustrate this conclusion. First, the meaning of the sunflower in the West is explored to account for the flower’s popularity and absorption into ancient heliotropic lore. Thomas Moore’s poetry may have inspired Aesthetic Movement designers such as Jeckyll to use the motif. Second, this dissertation demonstrates that the Peacock Room is only a distant descendant of the traditional European porcelain chamber. It was a new idea to turn the porcelain chamber into a dining room. Further, the room lacks two of the three key features of a porcelain room: lacquer panels and large plate-glass mirrors. When Whistler made the surfaces of this room dark and glossy, he made the room more traditional, aligning it with the customary lacquer paneling of porcelain rooms. And Jeckyll’s sho-dana shelving system in the Leyland dining room was without precedent in porcelain or other kinds of Western rooms, with influences from Japan and China. Third, Decor in the dining room was revealed as an established pattern in eating rooms from Ancient Roman triclinia to the present day. Fourth, Decor is present in the Peacock Room in four ways: in the trappings of the table used to decorate a dining room, in the darkness of this dining room, in the use of a foodstuff, the peacock, to decorate the room, and in the hearth’s sunflowers. Through the lens of the history of Western domestic interiors, significant innovations by Jeckyll have been brought to light, and the meaning of specific elements in the Peacock Room has been elucidated. Jeckyll and Whistler gave the world a sensational story in the Peacock Room but also a complex work of art that is only beginning to be illuminated.
10
Maetani, Masumi. "Transformation in the aesthetics of tea culture in Japan." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39634280.
Full text
11
Maetani, Masumi, and 前谷真寿美. "Transformation in the aesthetics of tea culture in Japan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39634280.
Full text
12
Flowers, Johnathan Charles. "Aware as a Theory of Japanese Aesthetics." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/734.
Full textAbstract:
Aware, as generally conceived in Japanese aesthetics, refers to the felt content within a particular work of art that drives the aesthetic value of that work. In this thesis presents a theory of art that places aware as central to the aesthetic experience in the Japanese as derived from Shinto and Buddhist ontology, as well as the aesthetic theories of Motoori Norinaga. This theory is then contrasted with the aesthetic theory of Susanne K. Langer as presented in Philosophy in a New Key, Feeling and Form, and Problems of Art, to provide a full explication of what it means to have an aesthetic experience or create art in the Japanese context.
13
Sharp, Jasper. "Japanese widescreen cinema : commerce, technology and aesthetics." Thesis, University of Sheffield, 2013. http://etheses.whiterose.ac.uk/5606/.
Full text
14
Toyoda, Mitsuyo. "Approaches to Nature Aesthetics: East Meets West." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3305/.
Full textAbstract:
Nature aesthetics is examined as an approach to environmental ethics. The characteristics of proper nature appreciation show that every landscape can be appreciated impartially in light of the dynamic processes of nature. However, it is often claimed that natural beauty decreases if humans interfere into nature. This claim leads to the separation of human culture and nature, and limits the number of landscapes which can be protected in terms of aesthetic value. As a solution to this separation, a non-dualistic Japanese aesthetics is examined as a basis for the achievement of the coexistence of culture and nature. Ecological interrelationships between human culture and nature are possible by means of an aesthetic consciousness in terms of non-hierarchical attitudes.
15
Petty, John E. "Stage and Scream: The Influence of Traditional Japanese Theater, Culture, and Aesthetics on Japan's Cinema of the Fantastic." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68031/.
Full textAbstract:
Although widely viewed in the West, Japanese films are often misunderstood, as they are built on cultural, theatrical, and aesthetic traditions entirely foreign to Western audiences. Particularly in regards to Japan's "fantastic" cinema - including giant monster pictures, ghost stories, and "J-Horror" films - what is often perceived as "cheap" or "cheesy" is merely an expression of these unique cultural roots. By observing and exploring such cultural artifacts as kabuki, noh, and bunraku - the traditional theatrical forms of Japan - long-standing literary traditions, deeply embedded philosophical beliefs, and even more recent developments such as the controversial dance form butoh, these films, including Gojira (1954), Daimajin (1966), Kwaidan (1964), Onibaba (1964), Testuo the Iron Man (1989), and Ju-On (2002), can be placed in their proper perspective, leading to a reevaluation of their worth not merely as commercial products, but as uniquely Japanese expressions of that society's unique place in world culture.
16
Peek, Cameron Morrill. "KAWAII AESTHETICS: THE ROLE OF CUTENESS IN JAPANESE SOCIETY." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/192562.
Full text
17
Melay, Alexandre. "Temporalité et spatialité dans l'esthétique japonaise : Formes de l'architecture au Japon." Thesis, Saint-Etienne, 2015. http://www.theses.fr/2015STET2209.
Full textAbstract:
Cette thèse porte sur la question de l’identité de l’architecture contemporaine au Japon à travers l’esthétique traditionnelle, profondément ancrée dans l’ensemble de la culture ancienne de ce pays : un véritable cheminement passant à la fois par l’intellectuel, le spirituel et l’artistique. L’objet de cette recherche est donc d’analyser l’interrelation existante entre tradition et modernité ; d’établir une « filiation », une possible évolution et de comprendre aussi la transformation de l’architecture contemporaine et ses problématiques à travers les différents concepts, qui fondent l’ensemble de l’esthétique au Japon, entre temporalité et spatialité. Il est question d’apporter un éclairage sur les expressions de la tradition : une « nouvelle tradition », une japonéité, où la tradition devient la matrice de la modernité. La tradition est à comprendre alors comme un véritable catalyseur. L’objectif de cette thèse est de montrer que l’architecture japonaise a su résoudre la difficile adéquation de relier la tradition nationale et la modernité internationale. La tradition semble être aussi l’une des matrices du futur. En d’autres termes, il s’agit de comprendre les traditions culturelles japonaises comme de véritables leviers conceptuels pour la nouvelle génération d’architectes japonais. La tradition est un héritage du passé qu’il faut préserver pour garder une identité, et qui permet de donner un chemin et une perspective pour l’avenir. De la qualité du rapport avec la tradition dépend non seulement l’harmonie et la beauté du cadre de vie, mais aussi la richesse du message architectural à transmettre aux générations futuresThis thesis focuses on the question of the identity of contemporary Japanese architecture through Japanese traditions and aesthetics, deeply rooted from the cultural background of Japan : a real passage through both intellectual, spiritual and artistic fields. The purpose of this research is to analyze the interrelation existing between tradition and modernity ; to establish a filiation, or a lineage, a possible evolution, to understand the transformation of Japanese architecture through different concepts between space and time. It comes to shed light on the expression of tradition in Japanese architecture : a “new tradition”, a notion of japan-ness where tradition becomes the matrix of modernity. In other words, tradition could be understand as a true catalyst. The goal of this thesis is to show that Japanese architecture has resolved the difficult balance between National tradition and International modernity. The tradition seems to be also one of the matrix of the future. The tradition is not only architectural, but it includes spirituality, aesthetics, art, and the manner how culture is linking to space and time. In other words, it is important to understand the cultural Japanese tradition background as a true conceptual levers for the new generation of Japanese architects. The tradition is a legacy of the past which should be preserved to maintain an identity, which could give a path, and vision for future. The quality of the relationship with the tradition depends not only of the harmony and beauty of our living, but also from the wealthy architectural message transmitted to future generations
18
Mageanu, Daniela Florentina. "The aesthetics of Takarazuka: a case study on Erizabēto – ai to shi no rondo." Thesis, University of Canterbury. School of Language, Social and Political Sciences - Japanese, 2015. http://hdl.handle.net/10092/10863.
Full textAbstract:
This thesis explores the various elements of Takarazukaʼs performance style, and analyses how they influence the adaptation of pieces which fall outside this style.
As a case study this thesis will examine the world-wide acclaimed Viennese German-language musical Elisabeth (1992), which was materially altered in order to suit Takarazukaʼs established style, and became Erizabēto – ai to shi no rondo (Erizabēto – the rondo of love and death, 1996). Employing the existing framework for the analysis of the theatre, by theatre scholars Yamanashi Makiko and Marumoto Takashi, this thesis will provide a detailed account of Takarazukaʼs style elements, and show how pieces which fall outside this style are treated. The conversation on Takarazukaʼs performance style is recently started in English, and this thesis is intended to add to this. The Takarazuka version, Erizabēto – ai to shi no rondo is contrasted with the original Viennese in terms of 1) plot, dialogue and characterisation; and 2) lighting and scenery, and wardrobe to illustrate Takarazukaʼs adaptation process.
Upon doing this analysis, it became apparent that Takarazuka has an established style which centres on romanticism, fantasy and visual richness, and that pieces that do not originally fit within this style are thoroughly altered in order to become appropriate for the Takarazuka stage.
19
Helmick, Amy Christine. "Wabi Sabi : an exploration of Wabi-Sabi & Japanese aethetics /." Diss., ON-CAMPUS Access For University of Minnesota, Twin Cities Click on "Connect to Digital Dissertations", 2001. http://www.lib.umn.edu/articles/proquest.phtml.
Full text
20
Nakayama, Tomoko. "The post-war Japanese avant-garde movements : the distinct phase of anti-art 1954-1970 : Gutai, Neo-Dada, Hi Red Centre and Mono-Ha /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmn1637.pdf.
Full textAbstract:
Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.Coursework. "November 2004" Bibliography: leaves 118-128.
21
Ellis, Charles. "Direct Radical Intuition: toward an 'Architecture of Presence' through Japanese ZEN Aesthetics." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498199.
Full text
22
Dahlin, Kenneth C. "The Aesthetics of Frank Lloyd Wright's Organic Architecture| Hegel, Japanese Art, and Modernism." Thesis, The University of Wisconsin - Milwaukee, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13422325.
Full textAbstract:
The goal of this dissertation is to write the theory of organic architecture which Wright himself did not write. This is done through a comparison with GWF Hegel’s philosophy of art to help position Wright’s theory of organic architecture and clarify his architectural aesthetic. Contemporary theories of organicism do not address the aesthetic basis of organic architecture as theorized and practiced by Wright, and the focus of this dissertation will be to fill part of this gap. Wright’s organic theory was rooted in nineteenth-century Idealist philosophy where the aim of art is not the imitation of nature but the creation of beautiful objects which invite contemplation and express freedom. Wright perceived this quality in Japanese art and wove it into his organic theory.
This project is organized into three main categories from which Wright’s own works and writings of organic architecture are framed, two of which are affinities of his views and one which, by its contrast, provides additional definition. The second chapter, Foundation, lays the philosophical or metaphysical foundation and is a comparison of Hegel’s philosophy of art, including his Romantic stage of architecture, with Wright’s own theory. The third chapter, Formalism, relates the affinity between Japanese art and Wright’s own designs. Three case studies are here included, showing their correlation. The fourth chapter, Filter, contrasts early twentieth-century Modernist architecture with Wright’s own organicism. This provides a greater definition to Wright’s organicism as it takes clues from Wright’s own sense of discrimination between the contemporary modernism he saw and his own architecture. These three chapters lead to the proposal of a model theory of organic architecture in chapter five which is a structured theory of organic architecture with both historical and contemporary merit. This serves to provide a greater understanding of Wright’s form of the organic as an aesthetically based system, both in historic context, and as relevant for contemporary discourse.
23
Newland, Paul. "New approaches to composition drawing on aspects of traditional Japanese music, aesthetics and culture." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428322.
Full text
24
Flowers, Johnathan Charles. "Mono no Aware as a Poetics of Gender." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/dissertations/1589.
Full textAbstract:
Traditional theories of gender performativity, grounded in the tradition of Judith Butler, fail to capture the experience of encountering a gendered subject. By reducing gender to a series of discursive acts and ignoring the aesthetic dimension of gender, these theories neglect the possibility for alternative gender performances divorced from the materiality of the body, except through acknowledging the ficticious nature of gender as a consequence of citational acts. In contrast, this dissertation presents a theory of gender as aware, or the “aboutness” that emerges through the repeated citational acts that make present gender in our lived experience. Gender, therefore, does not possess any ontological essence except insofar as it is articulated by citational practices, without which it cannot exist. To this end, this dissertation argues for an expansion of our discourse on gender through appealing to Japanese aesthetic and poetic concepts of aware and mono no aware to demonstrate the aesthetic nature of gender. In so doing this dissertation will present gender as fundamentally aesthetic through appeal to no, kabuki, and the Takarazuka Revue, all sites which divorced gender form biological sex for the purpose of an aesthetic praxis.
25
Sato, Yasuko. "Neither past nor present the pursuit of classical antiquity in early modern and modern Japan /." online access from Digital Dissertation Consortium access full-text, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3060262.
Full text
26
Medema, Kara N. "Chiyo-ni and Yukinobu: History and Recognition of Japanese Women Artists." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3914.
Full textAbstract:
Fukuda Chiyo-ni and Kiyohara Yukinobu were 17th-18th century (Edo period) Japanese women artists well known during their lifetime but are relatively unknown today. This thesis establishes their contributions and recognition during their lifespans. Further, it examines the precedence for professional women artists’ recognition within Japanese art history. Then, it proceeds to explain the complexities of Meiji-era changes to art history and aesthetics heavily influenced by European and American (Western) traditions. Using aesthetic and art historical analysis of artworks, this thesis establishes a pattern of art canon formation that favored specific styles of art/artists while excluding others in ways sometimes inauthentic to Japanese values. Japan has certainly had periods of female suppression and this research illustrates how European models and traditions of art further shaped the perception of Japanese women artists and the dearth of female representation in galleries and art historical accounts.
27
Dorman, Andrew. "Cosmetic Japaneseness : cultural erasure and cultural performance in Japanese film exports (2000-2010)." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6354.
Full textAbstract:
Since the introduction of film to Japan in the 1890s, Japanese cinema has been continually influenced by transnational processes of film production, distribution, promotion, and reception. This has led inevitably to questions about the inherent nationality of Japan's film culture, despite the fact that Japanese cinema has often been subjected to analyses of its fundamental ‘Japaneseness'. This study seeks to make an original contribution to the field of Japanese film studies by investigating the contradictory ways in which Japan has functioned as a global cinematic brand in the period 2000 to 2010, and how this is interrelated with modes of promotion and reception in the English-speaking markets of the UK and the USA. Through textual and empirical analyses of seven films from the selected period and the non-Japanese consumption of them, this thesis argues that contemporary film exports are culturally-decentred in regards to their industrial and, to some extent, aesthetic dimensions. This results from contradictory modes of ‘cultural erasure' and ‘cultural performance' in the production of certain films, whereby aesthetic traces of cultural specificity are concealed or emphasised in relation to external commercial interests. Despite strategies of cultural erasure, explicit cinematic representations of cultural specificity remain highly valued as export commodities. Moreover, in the case of contemporary Japanese film exports, there are significant issues of ‘cultural ownership' to be accounted for given the extent to which non-national industrial consortia (film producers, financers, DVD distributors, film festivals) have invested in the promotion and in some cases the production of Japanese films. Thus, both in relation to the aesthetic erasure of Japaneseness and their non-Japanese commercial identities, recent film exports can be viewed as non-national cultural products that have a commercial and cinematic identity connected to external influences as much as internal ones.
28
Steuer, Carl P. "An architectural investigation into some aspects of ancient Japanese metaphysics and their application in the design of a crematorium in an allegedly haunted building in Savannah, Georgia." Thesis, Georgia Institute of Technology, 1995. http://hdl.handle.net/1853/23017.
Full text
29
Clopton, Kay Krystal. "Now Hear This: Onomatopoeia, Emanata, Gitaigo, Giongo – Sound Effects in North American Comics and Japanese Manga and How They Impact the Reading Experience." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525744652209227.
Full text
30
Williams, Robert A. "Glaze Exploration via Nostalgic Locations." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7112.
Full textAbstract:
In my art practice, collecting materials from personally significant locations has become a way to subtly reconnect people with places, nature, natural materials and processes. I produce well-made objects, with the end goal of allowing the viewer to feel and interact with traditional forms of beauty through craft, which is increasingly rare in our mechanized world. Raw materials are a direct link to nature and earth, a link which people in general can benefit from in essential ways. The processes of collecting and using naturally occurring materials to form links between objects and places resembles human relationships, and the connections between places, things, and people set the stage for the performance of beauty.
31
Huang, Mu-Ching. "La couleur de la vacuité : analyse de l'esthétique zen du style cinématographique de Yasujiro Ozu." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100145.
Full textAbstract:
Il existe deux approches, culturelle et cinématographique, dans les recherches sur Ozu. En réponse au conflit entre les deux, nous proposons de retourner plus profondément aux idées essentielles du bouddhisme Zen qui affectent la culture et l’esthétique traditionnelles japonaises, pour obtenir un nouveau regard sur la richesse et la profondeur de son cinéma. Le style du « ni s’attacher ni quitter » d’Ozu vient de la pensée bouddhiste « La couleur même est la vacuité. » « Couleur » signifie « phénomène », le bouddhisme affirme que dans l’univers de vacuité, tout phénomène est changeant et temporaire, à savoir impermanent. Dans notre recherche, nous analyserons comment Ozu nous permet d’apercevoir et de comprendre la réalité de l’impermanence de l’univers et de la vie, à travers l’arrangement d’éléments du vide et du plein, et nous inspire à chérir la compagnie des émotions humaines dans la vie impermanente. Nous constaterons que c’est juste l’interpénétration entre le vide et le plein, entre l’absence et la présence, qui fait naître dans le cinéma d’Ozu une tension qui nous touche. Et son cinéma est pour ainsi dire une manifestation de « la couleur de la vacuité »There are two approaches, cultural and cinematographic, in the study of Yasujiro Ozu’s films. In response to the conflict between the two, and to view the richness and depth of Ozu’s works from a new perspective, I propose to return to Zen Buddhism ideas, which are deeply rooted in Japanese culture and aethetics. Ozu’s style of “neither attaching nor quitting" comes from the Buddhist idea that "Color is Emptiness”. "Color" means "phenomenon"; Buddhism asserts that in the universe of Emptiness, all phenomena are changeable and temporary, namely, impermanent. In my research, I will analyze how Ozu, by arranging elements of emptiness and fullness, reveals to us that impermanence is the reality of universe and life, and inspires us to cherish our companies in the impermanent life. We will find that it is the interpenetration of emptiness and fullness, of absence and presence, which give rise to the tension in Ozu’s films. And these films are the manifestation of “the Color of Emptiness”
32
Yoshikawa, Yurina. "Beautiful "Looks" Created by Women: New Aesthetics on Makeup for Overturning the Traditional Japanese Beauty." 2021. https://scholarworks.umass.edu/masters_theses_2/1082.
Full textAbstract:
ABSTRACT BEAUTY LOOKS CREATED BY WOMEN: TRADITIONAL BEAUTY AND NEW AESTHETICS FOR WOMEN MAY 2021 YURINA YOSHIKAWA B.A., NANZAN UNIVERSITY M.A., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Amanda C. Seaman In this thesis I focus on comparing the styles of beauty or “looks” that women have created for themselves, as well as concepts of traditional beauty. By doing so, this thesis will clarify how women try to change traditional beauty concepts and express themselves. As anyone who has watched TV in Japan has noticed, Japan has stereotyped aesthetic values of women that mass media such as magazines or TV dramas have created and disseminated. Pictures of beautiful women (bijinga 美人画) and beauty pageants are just two examples. In Japan, women having black hair, white skin, almond-shaped eyes, and well-defined noses are considered beautiful, and this aesthetic has not changed much since the Heian period (794-1185). After the work of Takehisa Yumeji (1884-1934), whose pictures created the foundation of kawaii culture in the Taishō period (1912-1926), women have adopted this new aesthetic category in order to get around the fixed aesthetics of the bijin look. In other words, the start of kawaii culture is one of the turning points for women to evade a monolithic image of what is considered beautiful. However, as kawaii culture spread across the world due to the popularity of manga and anime, the notion of kawaii also began to be fixed by the mass media, becoming as rigid as the notion of bijin. For example, Japanese idols from the Shōwa period (1926-1989) through the Heisei and Reiwa all look alike by design. Many idols have bangs, natural black or dark brown hair, and flat-shaped eyebrows which are attractive to men. To overturn this tendency, some women have created new kinds of makeup styles to express their own version kawaii aesthetics. Ganguro, yamamba, or “gal” makeup were all created by women and popular among young women. In general society—particularly men—did not accept these makeup styles as aesthetically beautiful; the public regarded these looks as not kawaii but rather ugly (busaikuブサイク). However, even though society found looks ugly, this kind of makeup nevertheless became extremely popular among girls and women in their 10s and 20s who regarded such looks as kawaii and trendy. This aesthetic can be seen as what happens when women get around fixed notions of beauty by adopting and transforming the idea and look of kawaii. In this thesis I discuss the development of the kawaii aesthetic and how it becomes a way for women to break out of the tyranny of bijin. I look at a trend of new bijinga and talk about how women are trying to break away from the traditional notion of bijin. Using a collection of contemporary bijinga, I examine how actresses are fighting to do their own makeup for their films, TV programs, or dramas; in particular, actresses Ishihara Satomi and Nanao try to express their own beauty by creating the characters’ looks themselves. In this respect, the characters are original styles of beauty created by these women.
33
Marino, Clara. "Real Fake Fighting: the Aesthetic of Qualified Realism in Japanese Professional Wrestling." 2021. https://scholarworks.umass.edu/masters_theses_2/1061.
Full textAbstract:
Professional wrestling is a performance art in which the line between fact and fiction is often obscured. Much of the existing scholarship on the medium that examines its dynamics regard reality and artifice focuses on the role of the artificial, analyzing pro-wrestling as primarily a form of heightened spectacle akin to passion plays or soap opera. However, professional wrestling in Japan, particularly that found in the country's largest promotion, New Japan Pro-Wrestling, features many elements that resemble real sports much more closely than many American promotions. These elements include fighting styles, wrestler injury, characters that do not fit easily into defined archetypes, stories focused on win-loss records, promos that resemble press releases, and audiences who react to the show not only like a performance, but also as if it were a real sport. At the same time, it does still feature many spectacular and heightened elements found throughout the pro-wrestling world, resulting in an overall aesthetic of qualified realism. This realism is a defining element of promotions like New Japan Pro-Wrestling, and it serves to make characters and their stories relatable to audiences in ways that are more difficult for other promotions. This reveals unique thematic qualities of Japanese pro-wrestling, in addition to demonstrating the aesthetic diversity of the genre as a whole.
34
Chen, Chia-Lin, and 陳嘉琳. "The study of the Spatial,structural and Aesthetic additions In the Adaptive Reuse of Historical Buildings -in case of public buildings built during the Japanese occupied period-." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/91114602971540493224.
Full textAbstract:
碩士國立成功大學
建築(工程)學系
86
Keywords: Adaptive Reuse, Historical Buildings, Architectural Additions This thesis is mainly divided into three parts in which the contents are summarized as followings: Part 1:The Basic Issues In Architectural Additions in the Adaptive Reuse of Historical Buildings In Taiwan Most historical buildings in Taiwan will have to face the necessary addition because of the functional need. However, many additions are in the questionable conditions because the spatial,structual and aesthetics issues were not taken into serious consideration. This part of study will review the basic issues in architectural addition in the adaptive reuse of historical buildings from case studies of foreign countries. Part 2:The Study of Tactics and Problems in the Real Cases of Architectural Additions in the Adaptive Reuse of Historical Buildings in Taiwan Various tactics will be applied in the architectural additions in the adaptive reuse because of different spatial need and different characteristics of historical buildings.Different problems exist in every tactic.Improper additions will not only affect the appearance of the historical buildings but also endanger the structure of the original buildings. This part of the study will use the samples collected in the field trip to analyze different tactics and their associated problems of the spatial,structuraland aesthetics issues in architectural additional in the adaptive reuse of historical buildings In Taiwan.Part 3:ConclusionThis part of the study is the summary of the above study and to generalize the fundamental principles of architecural additions in the adaptive reuse of historical buildings in Taiwan. Some future suggestions will also be proposed.
35
Koh, Hwee Been. "East and West the aesthetics and musical time of Toru Takemitsu /." 1998. http://catalog.hathitrust.org/api/volumes/oclc/40657292.html.
Full text
36
Wang, Siying. "Aesthetics of colours in Japanese traditional paintings and woodblock prints in the Edo Period." Thesis, 2016. http://hdl.handle.net/1828/7730.
Full textAbstract:
The aim of this thesis is to examine and study Japanese traditional colours: gold and red for the Kanō school, blue and purple for the ukiyoe, including their symbolic meanings, pigments, how they were applied in art works and how they were related to Japanese aesthetics.
This thesis is comprised of four chapters: the Introduction, Chapter 2, Chapter 3, and Conclusion. The introduction indicates the research purpose, theory, and research method. It also demonstrates the reason why the four colours and the two schools were selected. A combination of western colour theory, represented by Goethe, and Asian colour theory, represented by Five-elements theory and Confucius, is used in the following studies.
In Chapter 2, studies on the colour gold and red for the Kano school are presented. These show that Japanese aesthetics is not a simple concept, but an aggregation of conflicting senses of values.
The thesis then examines the colour blue and purple for the ukiyoe in Chapter 3. The two colours illustrate the concept of Japanese aesthetics, especially wabi-sabi, 侘び寂び, shibui, 渋い, and iki, 粋”.
In the two detailed central chapters, the thesis provides readers with resourceful charts and pictures of paintings that are helpful to understand the statement.
Finally, the thesis concludes the studies on Japanese traditional colours and their relations to Japanese aesthetics. This thesis hopes to not only help scholars in the field of Japanese traditional art and art history, but also offer some inspiration to readers who are doing research on Japanese contemporary design and modern art.Graduate
0377
0357
siyingwang2013@163.com
37
Yu, Yi-Jen, and 尤苡人. "The Flowers of "Akusho"－－Japanese Butoh Dancer-choreographer Hata-Kanoko''s "Akusho" Aesthetics." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/85499189801036693158.
Full textAbstract:
碩士國立臺灣大學
戲劇學研究所
99
Since 1959, the first piece of Butoh in the world Forbbiden Colors (Kinshiki) was premiered by Hijikata Tatsumi (1928-1986) , over the past decades, Butoh has developed into a representative genre of Japanese modern dance and avant-garde theatre, and started to gain its international reputation in 1980s. As the features of traditional Japanese performing art adapted in the body forms make Butoh distinctly “Japanese” to the western audience, the rebellious posture of Butoh also becomes a seeming response to the call of post-modern trend rising in American and European theatre, the “darkness” inside Butoh, which is originally illustrated by Hijikata with the phrase ”eastern north”, came to lost eventually. In 1998, the student of one of Hijikata’s successors Kuritaro, Japanese Butoh dancer-choreographer Hata-Kanoko made her visit to Taiwan. During the ten years between 1998 and the presentation of her work Fleur du Mal in 2009, she has presented most of her Butoh works in Taiwan under the cooperation with Taiwanese performers. Compared to the mainstream of Butoh that tends towards bourgeois style, Hata-Kanoko refuses any kind of subsidization, insisting on staying in margins with the oppressed, dancing for them and their history. This leftwing marginal political position has become even clearer after she came across Losheng Sanatorium, a former isolated hospital for leprosy patients built in Japanese colonial period whose location is now threatened by the construction of Taipei Metro. The painful memories within these patients’ bodies made Hata-Kanoko confronted the extremity against which she has been trying to fight. Two of her works created after then, including Fleur du Mal, are all about Losheng, for the patients in Losheng, and presented inside the sanatorium. This study follows Hata-Kanoko’s self interpretation towards Fleur du Mal, using the concept of one kind of special entertainment district in Edo Period Japan “Akusho” to approach Hata-Kanoko’s Butoh works. From this view, we can discover that Hata-Kanoko’s journey to Taiwan and Losheng Sanatorium is not just a coincidence, but a series of movement pursuing the margins, in other word, the “Akusho. Her creation is a practice of summoning, presenting “Akusho”, her Butoh aesthetics can also be demonstrated as “Akusho” aesthetics. The study focuses on the piece celebrating Hata-Kanoko’s tenth anniversary in Taiwan Fleur du Mal, examines both its performed text and the experiences of Taiwanese participants, seeks to explicate the inner textures of Hata-Kanoko’s “Akusho” aesthetics, which may include the traditional Japanese culture of “Akusho”, the booming avant-garde theatre movement in post-war Japan , and Hata-Kanoko’s experience in Taiwan. At last, its purpose would be finding out what these practices has accomplished and explore the possibility of the birth of “Taiwanese Butoh”.
38
Satō, Yasuko. "Neither past nor present : the pursuit of classical antiquity in early modern and modern Japan /." 2002. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3060262.
Full text
39
Yasuda, Anri. "Imaging the World: the Literature and Aesthetics of Mori Ogai, the Shirakaba School, and Akutagawa Ryunosuke." Thesis, 2011. https://doi.org/10.7916/D8NK4MVZ.
Full textAbstract:
This dissertation examines the role of aesthetics in Japanese literary discourse, with attention to the emergence of new cross-cultural perspectives, from the late 1880s through the 1920s. Modernity in Japan was marked by the rapid and often jarring juxtapositions of new techniques and ideas from Western sources against older Japanese traditions, and my project considers how literary authors envisioned and interpreted this cultural eclecticism. In particular, I focus on their reactions to Western paintings and sculptures. The visual arts seemed to offer viewers a direct access to `universal' aesthetic values though their non-linguistic nature, and thus appealed to those seeking to attain cosmopolitan perspectives. Through analyzing Japanese writers' literary responses to foreign artworks, and their ideas on vision as an avenue of information, I investigate the changing nature of representation and signification in this new age, and the role of literary language within it.
I take as the main subjects of my dissertation Mori Ogai (1862-1922), the members of the Shirakaba School such as Mushanokôji Saneatsu (1885-1976) and Shiga Naoya (1883-1971) during the period of their eponymous publication Shirakaba (1910-1923), and Akutagawa Ryûnosuke (1892-1927). Each of these authors has been both praised and denigrated for the high-minded idealism and aestheticism of his works, in no small part because of a marked tendency to employ foreign literary and artistic references. I argue that despite assessments that their works had been composed at an intellectual remove from the social and material contexts in which they lived, the ideal of aesthetics they had upheld as a fixed and transcendental principle that allowed for their appreciation of imported images and ideas of beauty, in fact catalyzed their critical assessments of their own discursive positions within Japanese society. These writers explored the links and the disjunctions between their artistic ideals--which spanned across disparate cultural and national boundaries--and their more immediate awareness of themselves as citizens of modern Japan. They discovered that for them, any attempt at cosmopolitanism had to take place within the contexts of their Japanese realities, and any thoughts about it had to be voiced through the medium of Japanese literary language. Even visual images could not ultimately elide the viewer's conceptual frameworks, and were interpreted in light of them. What resulted was thus a distinctly hybrid outlook in which their conceptions of Japan, the world, their individual identities, and their creative and critical productions, were indelibly linked with each other.
40
Sasaki, Maiko. "Trio Webster: Toshi Ichiyanagi’s Fusion of Western and Eastern Music." Thesis, 2012. http://hdl.handle.net/1911/64647.
Full textAbstract:
This document contains a synopsis of Toshi Ichiyanagi’s compositional style, a discussion of his musical philosophy, and an analysis of Trio Webster. Ichiyanagi is a renowned Japanese composer who studied in New York under John Cage’s mentorship. He is also the first composer to introduce Cage’s concept of chance operation to Japanese society. Trio Webster realizes the true exchange of Western and Eastern cultures, and it is accomplished because of Ichiyanagi’s unique
experience and philosophy as an international composer. The concept of Japanese classical music and Japanese aesthetics are observed in Trio Webster which is the basis for the depth of the work. Eastern concepts, especially Japanese, can be ambiguous and may be difficult for Westerners to fully appreciate. This study shows the cosmos beyond the practical analysis of Trio Webster and is meant to serve as a guide for those who will perform the works of Ichiyanagi, especially Trio Webster, in the future. This study was facilitated through research and interviews with Ichiyanagi and members of the Webster Trio. Ichiyanagi’s interview is included as an appendix to this document.
41
Lin, Chun-Wei, and 林君威. "The Communication between Environment and People from the Perspective of Ma,One of Japanese Aesthetics－A Case Study on the Psychological Space Outline Formed by Visual Indication." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/s7x3u5.
Full textAbstract:
碩士淡江大學
建築學系碩士班
103
Starting from the behaviors and space produced from Ma culture and Japanese tea ceremony that are common aesthetics of Japanese, the study established the formation principles of psychological space outline based on the “sensory processing” of cognitive psychology and the “perceptual organization” of vision. Topics including (1) elements of forming the space of Japanese tea ceremony, (2) interactions in the space of tea ceremony, (3) how to form the perception when tea drinkers conduct tea ceremony, and (4) features of the psychological space outline formed by perception were discussed. Then the study re-interpreted the verification rules of spatial installations of Japanese tea ceremony and defined the using behaviors based on the psychological space outline formed by perception. As high-technology products such as smart phones and pads have been prevalent, people spend more time on screens and neglect the sensory information given from real environment. The connection with current environment has been lost which results the homogeneous sense on space. By discussing the relation between human behaviors and space, the study reviewed the invisible psychological space outline between people and between people and things. Through literature review, experiment design and interview, it concluded two key points of the psychological space outline formed by visual indication. 1.The psychological space outline formed by visual perception has following features. 1)It needs to be formed by visual indication. 2)It is not a physically visible space. 3)The psychological space outline formed by perception is an extension of entity (direction, character and respective position). 4)It is a subjective spatial definition (An incomplete space form fulfilled by personal experience) 5)It is dynamic and incomplete. 2.The practice principles of psychological space outline that can be used by designers are as follows. 1)The production of the relation between behavior and space → approach 2)The attention aroused visually → the guide formed 3)The reasons of forming spatial sense → the operation of spatial sense 4)The formation of spatial shape → the operation of forming the psychological space outline 5)The psychological space outline focusing on user → defining internally and externally
42
Soudková, Kateřina. "Myšlenky zenového buddhismu a jejich odraz v japonském umění." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-350514.
Full textAbstract:
Zen Buddhism Thoughts and their Reflection in Japanese Art This thesis covers the development of Chan and Zen Buddhism thoughts, their effect on Japanese culture and their reflection in specific art forms. In the first part, it summarizes the arriving and settling of Zen in Japan as a follow-up to Chan development in China and as a reaction to the preceeding Buddhist schools in Japan. In the second part it deduces a set of criteria for defining "Zen Arts" from the general trends in taste at that time. And in the third part, it compares the differences in architecture, landscape design and painting before and after the influence of Zen. It follows the changes in development of specific components and techniques of these art forms and on this basis it determines what are the key Zen Buddhism thoughts that are expressed by that and how.
43
"Seeking alternative identities: changing masculinity among fashionable young men in Hong Kong." 2007. http://library.cuhk.edu.hk/record=b5893351.
Full textAbstract:
Wong, Ching Wa Alana.Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 123-128).
Abstracts in English and Chinese.
Abstract --- p.i
Acknowledgements --- p.iii
Chapter Chapter One: --- Introduction --- p.1
Chapter 1.1 --- Overview --- p.1
Chapter 1.1.1 --- Objectives --- p.1
Chapter 1.1.2 --- Who are fashionable Hong Kong young men? --- p.3
Chapter 1.1.3 --- Significance and Setting --- p.5
Chapter 1.2 --- Literature Review --- p.7
Chapter 1.2.1 --- Changing masculinity in postindustrial society --- p.7
Chapter 1.2.2 --- Beauty used to be associated with women --- p.10
Chapter 1.2.3 --- Beauty has become part of masculinity --- p.12
Chapter 1.2.4 --- Hong Kong's changing masculinity --- p.16
Chapter 1.3 --- Methodology --- p.18
Chapter 1.3.1 --- Media survey --- p.18
Chapter 1.3.2 --- In-depth interviews --- p.20
Chapter 1.4 --- Structure of the thesis --- p.22
Chapter Chapter Two: --- Changing Perception of Masculinity in Hong Kong: Dominant and Alternative --- p.24
Chapter 2.1 --- Introduction --- p.24
Chapter 2.2 --- Meanings of Chinese masculinity --- p.24
Chapter 2.3 --- Dominant perception of masculinity in Hong Kong --- p.26
Chapter 2.4 --- Beauty becomes part of masculinity in Hong Kong --- p.28
Chapter 2.4.1 --- Male beauty contest on television --- p.29
Chapter 2.4.2 --- Hong Kong men's opinions on men's beauty --- p.32
Chapter 2.4.2.1 --- Appearance is important for men --- p.33
Chapter 2.4.2.2 --- Concern for appearance cannot be publicly admitted --- p.37
Chapter 2.5 --- Conclusion: Caring for beauty is becoming part of masculinity --- p.40
Chapter Chapter Three: --- Men's beauty in magazines in Hong Kong --- p.42
Chapter 3.1 --- Introduction --- p.42
Chapter 3.2 --- Magazines in Hong Kong --- p.43
Chapter 3.2.1 --- Youth and gossip magazines --- p.43
Chapter 3.2.2 --- Japanese male fashion magazines --- p.44
Chapter 3.2.3 --- Men's lifestyle magazines --- p.45
Chapter 3.3 --- Men's images in these three types of magazines --- p.45
Chapter 3.3.1 --- Over- emphasis of Japaneseness: Youth and gossip magazines --- p.46
Chapter 3.3.2 --- Authentic Japanese style?: Japanese male fashion magazines --- p.51
Chapter 3.3.3 --- High class men: Men's lifestyle magazines --- p.54
Chapter 3.4 --- Men's images in magazines in Hong Kong: wen or wu? --- p.59
Chapter 3.5 --- Conclusion: Beauty has become increasingly important for men in Hong Kong --- p.62
Chapter Chapter Four: --- "Relationship between ""Japan"" and men's beauty in Hong Kong" --- p.64
Chapter 4.1 --- Introduction --- p.64
Chapter 4.2 --- "The meaning and common beliefs about ""Japan"" in Hong Kong" --- p.65
Chapter 4.2.1 --- Japan as work: Hair stylists and fashion designers --- p.66
Chapter 4.2.1.1 --- Hair stylist assistants --- p.66
Chapter 4.2.1.2 --- Fashion designers --- p.70
Chapter 4.2.2 --- """Japan"" as leading fashion trends" --- p.73
Chapter 4.2.2.1 --- "To be ""cool"" means to learn from Japan" --- p.73
Chapter 4.2.2.2 --- Japan is the best --- p.77
Chapter 4.3 --- "The influence of ""Japan"" on men's beauty" --- p.80
Chapter 4.3.1 --- Awareness of Japan --- p.80
Chapter 4.3.1.1 --- Hong Kong men who deliberately choose Japanized beauty practices --- p.80
Chapter 4.3.1.1.1 --- Hong Kong men who have long term experiences in Japan --- p.80
Chapter 4.3.1.1.2 --- Band members --- p.82
Chapter 4.3.1.2 --- """Japan"" offers an alternative" --- p.83
Chapter 4.3.2 --- Taken-for-Granted Japanese Influences --- p.84
Chapter 4.3.2.1 --- The daily beauty practices: Japanese influences are invisible --- p.84
Chapter 4.3.2.1.1 --- "No ""Japanese"" hair style" --- p.85
Chapter 4.3.2.1.2 --- "No ""Japanese"" clothing styles" --- p.86
Chapter 4.3.2.2 --- """Japan"" mixes with Hong Kong" --- p.88
Chapter 4.3.3 --- Special cases --- p.90
Chapter 4.4 --- Abandonment of Japanized beauty practices --- p.92
Chapter 4.5 --- "Conclusion: ""Japan"" represents a temporarily attractive life for men" --- p.93
Chapter Chapter Five: --- Negotiation with Women: Fashionable Hong Kong Young Men's Beauty Ideals --- p.95
Chapter 5.1 --- Introduction --- p.95
Chapter 5.2 --- "Women's ""gaze"" in the male beauty contest" --- p.96
Chapter 5.3 --- The use of women in encouraging men's beauty in Hong Kong magazines --- p.97
Chapter 5.4 --- Hong Kong men's masculinity: we listen and obey women's orders --- p.104
Chapter 5.5 --- Conclusion: Fashionable Hong Kong young men's beauty practices are influenced by women --- p.109
Chapter Chapter Six: --- Conclusion --- p.111
Chapter 6.1 --- Conclusion --- p.111
Chapter 6.2 --- A Review: Men's beauty as an alternative masculinity in Hong Kong --- p.111
Chapter 6.2.1 --- Hong Kong men need to care about appearance --- p.112
Chapter 6.2.2 --- "Japanized beauty practices can make men look ""cool"" and trendy" --- p.114
Chapter 6.2.3 --- Men listen and obey women's orders on beauty practices --- p.116
Chapter 6.2.4 --- "After all, career achievement and earning ability are more important" --- p.118
Chapter 6.3 --- Conclusion: Limitations and self reflections --- p.120
References --- p.123
44
Cuthbert, Nancy Marie. "George Tsutakawa's fountain sculptures of the 1960s: fluidity and balance in postwar public art." Thesis, 2012. http://hdl.handle.net/1828/4142.
Full textAbstract:
Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories.Graduate