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Dissertations / Theses on the topic 'Japanese poplar'
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1
Tsuyama, Taku. "Lignification Mechanism Involved in Coniferin Transport in Differentiating Xylem of Poplar and Japanese Cypress." Kyoto University, 2015. http://hdl.handle.net/2433/199360.
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Kyoto University (京都大学)0048
新制・課程博士
博士(農学)
甲第19036号
農博第2114号
新制||農||1031(附属図書館)
学位論文||H27||N4918(農学部図書室)
31987
京都大学大学院農学研究科森林科学専攻
(主査)教授 髙部 圭司, 教授 髙野 俊幸, 教授 矢﨑 一史
学位規則第4条第1項該当
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Vetýšková, Lenka. "Produkce rychle rostoucích dřevin na zemědělské půdě: ekonomická analýza záměru." Master's thesis, Vysoká škola ekonomická v Praze, 2010. http://www.nusl.cz/ntk/nusl-124990.
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This thesis deals with the business plan to establish plantations of fast-growing poplar on agricultural land for the production of energy. The target is to create and analyze a business plan for the production of fast-growing trees in the region Vysočina. Theoretical part deals with general information of fast-growing trees, energy conception of the Czech Republic and of course also instructions for writing a quality business plan. The practical part contains an extended version of the business plan for the establishment of plantations of fast-growing poplar, strategic analysis, economic aspects and evaluation of the whole project. In this thesis are also suggestions to improve the project.
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Levý, Lukáš. "Ekonomika rychle rostoucích dřevin." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-125075.
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The thesis is focused on analyzing and evaluation of importance and potential of fast-growing woody species for specifics of Czech economy and local conditions. Thesis will inquire into applicability of each fast-growing species for Czech natural conditions. Further I will investigate opportunities of subvention from public authorities. Next part of thesis will be focused on all activities and processes during cultivation of fast-growing species from acquiring land to processing of wooden mass. For each activity will quantify costs of labor and physical capital during cultivation of fast-growing woody species for different subjects in Czech economy, like household owning a soil or company with unused outside areas. Thesis will be comparing possible energetic savings of profits for a number of alternatives with different energy prices development in ongoing years. Practical output of this thesis should not be only the compilation of all these information into one text, but above all also a complex formula which everyone can use for the calculation of his opportunities for cultivating of fast-growing woody species.
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Lindell, Johan. "Japanization? - Japanese Popular Culture among Swedish Youth." Thesis, Karlstads universitet, Fakulteten för ekonomi, kommunikation och IT, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-3861.
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Japanese presence on the global cultural market has steadily been increasing throughout the last decades. Fan-communities all over the world are celebrating the Japanese culture and cultural identity no longer seems bound to the local. This thesis is an empirical study which aims to examine the transnational flow of Japanese popular culture into Sweden. The author addresses the issue with three research questions; what unique dimensions could be ascribed to Swedish anime-fandom, what is appealing about Japanese popular culture and how is it influencing fan-audiences? To enable deeper understanding of the phenomenon, a qualitative research consisting of semi-structured telephone-interviews and questionnaires, was conducted with Swedish fans of Japanese popular culture. The results presented in this thesis indicate that the anime-community in Sweden possesses several unique dimensions, both in activities surrounding Japanese popular culture and consumption and habits. Japanese popular culture fills a void that seems to exist in domestic culture. It is different, and that is what is appealing to most fans. Anime and manga have inspired fans to learn about the Japanese culture, in some cases, Japanese popular culture has in a way “japanized” fans – making them wish they were born in Japan.
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Hiwatari, Yasutaka. "Anglicisms, globalisation and performativity in Japanese popular culture." Thesis, University of Leeds, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550813.
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This thesis examines the ways in which English is used to produce and reproduce new meanings and identities in the Japanese context. The study of language contact with English in Japan is far from new in Japanese sociolinguistics, and a number of studies have been conducted in this area. However, I argue that previous studies are marked by two main oversights: firstly, previous studies were conducted on data collected from limited genres; secondly, in the previous studies, English was examined on the basis of a restricted contact setting. Thus, the earlier studies provided a limited view of the ways in which the use of English functions in the Japanese context, overlooking the variety of the ways in which new meanings and identities are created. This study provides a more comprehensive picture of the ways in which the use of English functions performatively within the Japanese setting. It does this by conducting three case studies on data collected from three largely overlooked genres of Japanese popular culture, namely Japanese rap, manga, and a Japanese online Bulletin Board System website (BBS). Drawing on the theoretical framework based on the concepts of globalisation and performativity (Pennycook, 2007), this study focuses on the dynamic process by which English is embedded and re-embedded in local contexts within Japanese popular culture. Accordingly, it highlights the ways in which the use of English performatively creates and recreates new meanings and identities. This thesis argues that the process in which English is embedded is multidimensional within the Japanese context, and that this process corresponds to the ways in which English is performative in constructing multidimensional identities. Furthermore, viewing the use of language as a 'transmodal performance' (Pennycook, 2007), this study examines how the use of English works performatively in parallel with other modes of performative act, such as singing and drawing pictures.
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Yamamoto, Mari. "The rebirth of a nation : popular pacifism and grassroots revolt in post-War Japan." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270166.
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Wilson, Sandra. "Popular Japanese responses to the Manchurian crisis, 1931-33." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385744.
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Preston, Jennifer Louise. "Nishikawa Sukenobu : the engagement of popular art in socio-political discourse." Thesis, SOAS, University of London, 2012. http://eprints.soas.ac.uk/25578/.
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Nishikawa Sukenobu was a popular artist working in Kyoto in the first half of the eighteenth century. He was principally known as the author of popular 'ehon', or illustrated books. Between 1710 and 1722, he published some fifty erotic works, including a work detailing sexual mores at court which Baba Bunkô, amongst others, believed responsible for prompting the ban on erotica that came with the Kyôhô reform package of 1722. Thereafter, he produced works generally categorized as 'fûzoku ehon': versions of canonical texts, poems and riddles, executed in a contemporary idiom. This thesis focusses on the corpus of illustrated books from the early erotica of the 1710s to the posthumously published work of 1752. It contends that these works were political: that Sukenobu used first the medium of the erotic, then the image-text format of the children's book to articulate anti-bakufu and pro-imperialist sentiment. It explores allusions to the contemporary political landscape by reading the works against Edo and Kyoto 'machibure', contemporary diaries (such as 'Getsudô kenbunshû') and contemporary pamphlets ('rakusho'). It also places the ehon in the context of other contemporary literary production: for example the anti-Confucianist writings of the popular Shinto preacher Masuho Zankô and the 'ukiyozôshi' production of Ejima Kiseki (whose works were illustrated by Sukenobu). It corroborates these findings by citing evidence of the political sympathies of Sukenobu's collaborators: for example, the political writings of the Kyoto educationalist Nakamura Sankinshi; the works of the children's author and Confucian scholar Nakamura Rankin (aka Mizumoto Shinzô); and the fictional and 'kojitsu' writings of the Shinto scholar Tada Nanrei.
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Sutcliffe, Paul J. C. "Contemporary art in Japan and cuteness in Japanese popular culture." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/5642/.
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This thesis is an art historical study focussing on contemporary Japan, and in particular the artists Murakami TakashL Mori Mariko, Aida Makoto, and Nara Yoshitomo. These artists represent a generation of artists born in the 1960s who use popular culture to their own ends. From the seminal exhibition 'Tokyo Pop' at Hiratsuka Museum of Art in 1996 which included all four artists, to Murakami's group exhibition 'Little Boy: The Arts of Japan's Exploding Subculture' which opened in April 2005, central to my research is an exploration of contemporary art's engagement with the pervasiveness of cuteness in Japanese culture. Including key secondary material, which recognises cuteness as not merely something trivial but involving power play and gender role issues, this thesis undertakes an interdisciplinary analysis of cuteness in contemporary Japanese popular culture, and examines howcontemporary Japanese artists have responded, providing original research through interviews with Aida Makoto, Mori Mariko and Murakami Takashi. Themes examined include the deconstruction of the high and low in contemporary art; sh6jo (girl) culture and cuteness; the relation of cuteness and the erotic; the transformation of cuteness into the grotesque; cuteness and nostalgia; and virtual cuteness in Japanese science fiction animation, and computer games.
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Mikami, Keiko. "Cultural Globalizationin Peoples Life Experiences : Japanese Popular Cultural Styles in Sweden." Thesis, Stockholms universitet, Centrum för modevetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-62778.
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Dobbins, Jeffrey. "Becoming imaginable : Japanese gay male identity as mediated through popular culture." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33279.
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This thesis will examine how gay men are depicted in mainstream Japanese pop culture. To be discussed are: gay-themed comics for girls, mainstream movies in which the protagonists are gay, and finally, gay men's magazines which are gay authored and consumed. In examining how fantasies in these texts respond to the needs of various readerships, it is possible to understand how important and challenging it is for gay Japanese men to create identities of their own, identities which will allow them more possibilities than the prevailing facade of compulsory heterosexuality, complete with marriage and children.
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Pope, Edgar W. "Songs of the empire : continental Asia in Japanese wartime popular music /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11322.
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Mireault, Julie. "No slaughter without laughter?: music and genres in Japanese popular media." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119649.
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In an increasingly connected world, fans of Japanese popular culture take full advantage of a system that already emphasizes links between works and media. In order to reflect this highly intertwined field, the present thesis compares two works from the same franchise, Higurashi no Naku Koro ni, a story mixing school-life drama with mystery and horror. The first chapter deals with the earliest instalment of Higurashi, a video game belonging to the visual novel genre. As visual novels are still not very common outside Japan, the chapter introduces their characteristics, as well as Higurashi's stand within the genre. The discussion concentrates on how visual novels seem to have maintained as part of their generic code some characteristics which Western histories of video games and video game music associate with early video games. A particular focus will be put on the idea of repetition, both in the game's narrative structure and music.The second chapter presents the results of a side-by-side analysis of the music in the video game and its anime adaptation in order to better understand what exactly are the similarities and the differences between the two installments' use of music, and how it affects the experience of the player or viewer. The discussion focuses on the question of rhythm and its far-reaching influence on the installments' generic diversity.Dans un monde de plus en plus interconnecté, les amateurs de culture populaire japonaise profitent d'un système qui lui-même met l'emphase sur les liens entre différents produits et média. Pour bien refléter cette toile médiatique, la présente recherche porte sur un jeu vidéo et une série animée provenant de la même franchise, Higurashi no Naku Koro ni, une histoire qui mêle vie étudiante, mystère et horreur. Le premier chapitre traite du jeu vidéo original, qui fait partie d'un genre appelé « visual novel ». Comme il s'agit encore d'un genre encore peu connu hors du Japon, le chapitre commence par une introduction du genre, pour en arriver à mieux comprendre les spécificités de Higurashi en tant que visual novel. Il sera notamment question de la place des visual novel dans le tracé habituel de l'histoire de la musique dans les jeux vidéos, avec une emphase particulière sur le thème de la répétition . Le deuxième chapitre présente les résultats d'une analyse côte-à-côte de la trame sonore du jeu vidéo et de l'animé. Elle a pour objectif de mieux comprendre les approches musicales respectives dans les deux média, et leurs effets sur le joueur ou le spectateur. La discussion s'articulera autour de la question du rythme, qui aura un impact important sur la diversité générique de chaque version de l'histoire.
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Rich, Danielle Leigh. "Global Fandom: The Circulation of Japanese Popular Culture in the U.S." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/4905.
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This dissertation is a case study of the dissemination and circulation of Japanese popular cultures in the U.S., specifically focusing on the collective reception practices of individuals who identify as fans of Japanese animation, comic books, and video games. The key questions driving this project are: what difference does it make that young Americans are consuming popular cultures that are 1) international in origin and 2) specifically Japanese in origin? To answer these questions I carried out ethnographic research - such as subject interviews, questionnaires, and participant observation - to understand the significance of young adults' interest in Japanese animation and comic book works (usually referred to as "anime" and "manga," respectively). In response to my ethnographic investigation of U.S. fans' practices and experiences, I argue that many young Americans use their practices of consuming and circulating these international popular cultures to transform their immediate social landscapes, and therefore, their social and national identities as well. I also draw on methodologies from a variety of disciplines, pairing ethnographic fieldwork practices with audience reception and fandom studies, transnational media studies, and book studies approaches in order make connections between the social, cultural, performative, and national dimensions of Japanese popular culture fandom in the U.S.
In addition to exploring subjects' relationship to the texts they consume, I also target the embodied spaces and processes by which Japanese popular culture is actually circulated and experienced by local U.S. audience groups. In doing so, I strive to follow the "digital life" Japanese popular culture has taken in its jump to English-language translation world-wide and the significant role fans have played in facilitating unofficial flows of Japanese popular culture through specific translation practices. I examine the scholarly and fandom struggle over ideological questions of the "authenticity" and "Americanization" of adaptations of Japanese media in the North American marketplace, as well as the struggle between fans and official adapters to assert forms of ownership over these representations. Such struggles involve these groups' often conflicting practices of adaptation, translation, and circulation of these cultures.
This research adds an important dimension to current scholarship on cultural manifestations of globalization and so-called "Americanization" processes as I show how commodities from outside the U.S. are first received by U.S. audiences and then transformed through this audience's participatory engagement with the production and circulation of these works in the English language. As such, this research engages with key issues of cultural transmission, translation, practices of media localization, transnational flows, and identity formation and fandom.
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Rivel, Charley. "Wagakki and Japanese Popular Music: The Perception of Music and Cultural Identity." Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-193443.
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This study focuses on the connection between cultural identity and Japanese popular music. It contains conducted interviews and semantic analyses on musicians who use Japanese traditional instruments and Western instruments in their repertoire. It uses performativity theory as theoretical framework. The analyses are divided in to the three levels of Sauter’s phenomenological path: the symbolic level, the sensory level and the artistic level. It concludes how musicians in Japan perceive their own musical identity, and gives insights on the role of cultural identity in Japanese music. The potential significance is to contribute to identity studies using a performativity perspective as explained above, and thereby elucidating both musicological and historical aspects.
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Cervelli, Filippo. "Ima deshō : the vacuum of immediacy in contemporary Japanese literature and popular culture." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:521d5f5e-d34d-454a-b622-a0454783cf80.
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The value of literature in the contemporary age is a controversial issue. The challenge posed by the interpretation of this era is expressed by the provocative remarks of critics such as Karatani Kōjin and Suzuki Sadami maintaining that after the 80s modern "pure" literature died (History and Repetition, 2012; The Concept of "Literature" in Japan, 2006). Reading Karatani and Suzuki's comments as merely provocative, signifying that a form of literature has died, this study enquires into how literature (and the arts) have changed and found new ways of expression after the historical break of 1989. The dissertation offers immediacy as a possible answer. Immediacy is a theme, a literary device stressing the present moment submerging clear notions of past and present. The precondition for immediacy is an ideological vacuum, experienced by characters across age groups and genders, where they do not share social ideologies or collective purposes. In this isolation, they concentrate only on their local realities, on what they perceive directly (physically and emotionally), acting quickly and repeatedly in the absence of critical thought. The constant action is often carried out in response to corporeal stimuli, specifically violence and sex, that grant immediate gratification in the vacuum. However, at the core characters indulging in immediacy long for inter-personal connections. Building a community based on critical thought and mutual understanding is the solution to escape from immediacy. The dissertation explores manifestations of immediacy in contemporary Japanese literature and popular culture (manga and anime) published or broadcast between 1995 and 2011. Through the analyses of cultural theories, literature by Takahashi Genichirō, Taguchi Randy and Hirano Keiichirō, and influential works in manga and anime (Neon Genesis Evangelion, Psycho-Pass and Shingeki no kyojin), it shows the theme's relevance and discusses how it contributes to the broader fields of contemporary Japanese literature and popular culture. By doing so, the dissertation also provides a study of the current artistic panorama in Japan, one that is often neglected critically, but that speaks of its culture with great force and imagination.
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Dahlberg-Dodd, Hannah Elizabeth. "Social Meaning in Virtual Space: Sentence-final expressions in the Japanese popular mediascape." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1573476174708106.
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Koizumi, Kyoko. "Popular music in Japanese school and leisure sites : learning space, musical practice and gender." Thesis, University College London (University of London), 2003. http://discovery.ucl.ac.uk/10007410/.
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Most studies of the relationship between popular music and youth have concentrated on the leisure site. Few have considered the school, and even fewer have made any comparison between these two sites. In this study I have bridged this gap, focusing on areas that impinge within and across both sites. My ethnographic study, conducted in 1998 and 2000 in Japan, examined how high school pupils aged 15-18 approach popular music in both school and leisure sites in relation to (a) formal, semi-formal and informal spaces concerning learning practices. Whereas the formal space is dominated by supervised and assessed ways of learning and legitimised knowledge, the informal space is pupil-led and involves knowledge which is not necessarily recognised by the school. Between these two, the semi-formal space is open to non-legitimised knowledge, but is nonetheless still assessed by others. Michel de Certeau's theoretical division of everyday practices - strategies and tactics - is applied to (b) boys' and girls' techniques for dealing with popular music in relation to each learning space. Distinctions were also investigated between the ways that boys and girls engage in popular music as (c) listeners and performers. Three categories of popular music emerge from the findings and are theorised as personal, common and standard music. Firstly, 'personal music' belongs to each person at an individual level. It can be regarded as a form of Pierre Bourdieu's 'habitus', which exists as an embodied state and equates to private musical tastes or preferences. Secondly, 'common music' belongs to subcultural peer groups of the same generation, but not to older generations such as parents and teachers. It can be linked to Bourdieu's concept of 'acquired capital', and is obtained through the aforementioned three learning spaces. Thirdly, 'standard music' is shared across generations, including teachers, parents and pupils. It operates as 'inherited capital' accumulated by informal learning at home, and is often legitimated in the school. Whereas boys tended to situate their personal music in relation to the common music of their subcultural group, girls were likely to make use of common and standard music as 'camouflage' in order to conceal their personal music, particularly in the formal space.
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Ohsawa, Yuki. "Changes in the conceptualization of body and mind in Japanese popular culture, 1950 - 2015." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/57655.
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This dissertation investigates changes in the conceptualizations of technologically-enhanced beings and bodies in contemporary Japanese science fiction anime, manga, and literature. These stories/images and real-life transitions make us consider such issues as what constitutes the body, how the body is now changing, and what the relationship between the body and the self/mind might be. In order to understand ourselves and contemporary conditions and issues, which occur in specific relation to differences inherent in each body—sex, race, disability, disease, and so on—it is essential to analyze these changes in body notions as contemporary visual media themselves critique and discuss them.
Emerging from a close reading of texts from the 1950s to the 2010s, and utilizing theories from Donna Haraway, Yōrō Takeshi, and others, this project argues that, since the 1950s, Japanese popular culture has created a wide range of imagined technological bodies, the depiction of which engages with important philosophical and ethical questions. In addition, although some works from the 2000s and 2010s present sentient beings that are essentially bodiless, we see a generally steady trend toward an emphasis on the importance of the material body, as well as increasing monism as opposed to Cartesian dualism. Another trend exposed through this study is the surprising persistence of the categories of sex, gender, and sexuality, even in depictions that are otherwise radically posthuman.Arts, Faculty of
Asian Studies, Department of
Graduate
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Lindberg, Sabina. "なぜ日本語Naze nihongo? : A Study of the Variables Affecting Senior High School Students’ Choice to Study Japanese." Thesis, Uppsala universitet, Institutionen för pedagogik, didaktik och utbildningsstudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-242958.
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In recent years Japanese has become an increasingly popular language choice among students in senior high school in Sweden, but very little research has been conducted as to why this trend has emerged. This study aims to investigate the variables affecting senior high school students’ choice to study Japanese and to proceed with it in institutions of higher education, as well as to delineate any gender-specific and socioeconomic discrepancies amongst them based on Bourdieu’s sociology of education. In addition, it strives to shed light on the students’ attitudes toward Japan and the Japanese culture. The empirical data of the study consists of a survey collection of 112 respondents from 4 senior high schools in Stockholm, Uppsala and Västerås. The results indicate that interest in Japanese popular culture, mainly anime and manga, is the main incentive for learning Japanese and that this interest is commenced many years prior to the instruction. The prospect of traveling, studying and working in Japan, as well as to engage further in their interest in the Japanese culture, appears to be what motivates further and higher education in Japanese. The attitudes toward Japan and the Japanese culture are generally positive and the negative opinions expressed mainly derive from cultural difference. The students in the study are predominantly female who carry a strong cultural capital that stems from a middle class family and household of higher education. Hopefully, this study will contribute to the research field of Japanese language learning and inspire others to broaden the discipline.
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Sommerlot, Kathryn. "A Comparison of Multiple Identities: A Popular Japanese Singer Trying to Make it in America." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334244996.
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Kovacic, Mateja. "Technologies and paradigms of vision: from the scientific revolution of the Edo period to contemporary Japanese animation." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/317.
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This thesis is mainly concerned with uncovering the meanings and associations embedded in the field of popular culture production in Japanese and European sociocultural contexts, using a comparative approach to unearth the effects, materials, and paradigms of the technological and scientific discourses during the Scientific Revolution. Linking the fields of the anthropology of technology and science, popular culture, and material culture studies, the thesis offers a historical overview of the development of machines and visual technologies in the Edo period, arguing that visuality is the key to delayering the cultural history of technology and science in Japanese popular culture, animation in particular. The objective of this work, therefore, is to look at the assemblage of the scientific, technological, and philosophical discourses to unveil the cultural processes between optical regimes, scientific practices, and popular culture. In its emphasis on the interconnectedness of visual technologies and the field of popular culture production, the thesis asserts that scientific development, particularly under the influence of the Scientific Revolution and Japanese Rangaku scholarship, is closely tied with the function of entertainment in Japanese society. With the understanding of technology as a total social phenomenon that interlocks the material and the symbolic in a complex network, which produces meanings and associations, the thesis further stresses the view that intellectual history cannot be separated from material culture studies; it also grapples with a number of existing scholarships on the history of science, particularly their inattentiveness to cultural histories in their historical surveys of scientific development. Finally, this work closely examines Oshii Mamoru's Ghost in the Shell and its sequels and the anime TV series Psycho-Pass to explore the tangled responses to the ideologies of the Euro-American mode of modernity.
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Tam, Pui-yim Jenifer. "Japanese popular culture in Hong Kong : case studies of youth consumption of cute products and fashion magazines /." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25017585.
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Perry, Robyn Paige. ""Ersatz as the Day is Long": Japanese Popular Music, the Struggle for Authenticity, and Cold War Orientalism." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617205969493365.
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Hansen, Gitte Marianne. "Navigating contradiction : female characters, normative femininity and self-directed violence in contemporary Japanese narrative and visual culture." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707971.
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Lambertson, Kristen. "Mariko Mori and Takashi Murakami and the crisis of Japanese identity." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1244.
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In the mid-1990s, Japanese artists Mariko Mori (b. 1962) and Takashi Murakami (b. 1967) began creating works that referenced Japanese popular culture tropes such as sexuality, technology and the idea of kawaii, or cute. These tropes were associated with emerging youth cultures instigating a “soft rebellion” against social conventions. While emancipated female youths, or shōjo, were criticized for lifestyles based on the consumption of kawaii goods, their male contemporaries, the otaku were demonized for a fetishization of kawaii girls and technology through anime and manga, or animation and comic books. Destabilizing the nation’s patriarchal theory of cultural uniqueness, or nihonjinron, the youth triggered fears of a growing infantilized, feminized automaton ‘alien’ society during Japan’s economically tumultuous 1990s.
In response to these trends, Mori and Murakami create works and personae that celebrate Japan’s emerging heterogeneity and reveal that Japan’s fear of the ‘alien within’ is a result of a tenuous post-war Japanese-American relationship. But in denoting America’s position in Japan’s psyche, Mori’s and Murakami’s illustration of Japan as both victim and threat encourages Orientalist and Techno-Orientalist readings. The artists’ ambivalence towards Western stereotypes in their works and personae, as well as their distortion of boundaries between commercial and fine art, intimate a collusion between commercialization, art and cultural identity. Such acts suggest that in the global economy of art production, Japanese cultural identity has become as much as a brand, as art a commodity.
In this ambivalent perspective, the artists isolate the relatively recent difficulty of enunciating Japanese cultural identity in the international framework. With the downfall of its cultural homogeneity theory, Japan faced a crisis of representation. Self-Orientalization emerged as a cultural imperative for stabilizing a coherent national identity, transposing blame for Japan’s social and economic disrepair onto America. But by relocating Japanese self-Orientalization within the global art market, Mori and Murakami suggest that as non-Western artists, economic viability is based upon their ability to cultivate desirability, not necessarily authenticity. In the international realm, national identity has become a brand based upon the economies of desire, predicated by external consumption, rather than an internalized production of meaning.
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Sakoi, Junko. "The responses of fifth graders to Japanese pictorial texts." Thesis, The University of Arizona, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3700794.
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This study explores the responses of twelve fifth graders to Japanese pictorial texts— manga (Japanese comics), anime (Japanese animations), kamishibai (Japanese traditional visual storytelling), and picture books — and their connections to Japanese culture and people.
This study took place Cañon Elementary School in Black Canyon City in Arizona. The guiding research questions for this study were: How do children respond to Japanese pictorial texts? and What understandings of Japanese culture are demonstrated in children's inquiries and responses to Japanese pictorial texts? The study drew on reader response theory, New Literacy Studies, and multimodality. Data collection included participant-observation, videotaped/audiotaped classroom discussions and interviews, participants' written and artistic artifacts, ethnographic fieldnotes, and reflection journals. Results revealed that children demonstrated four types of responses including (1) analytical, (2) personal, (3) intertexual, and (4) cultural. These findings illustrate that the children actively employed their popular culture knowledge to make intertextual connections as part of meaning making from the stories. They also showed four types of cultural responses including (1) ethnocentrism, (2) understanding and acceptance, (3) respect and appreciation and valuing, and (4) change. This study makes a unique contribution to reader response as it examines American children's cultural understandings and literary responses to Japanese pictorial texts (manga, anime, kamishibai, and picture books).
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Reyes, Navarro Javiera Natalia. "Creating Chilean Identities to the Rhythm of Japanese Rock: A Study of Santiago de Chile’s Visual Kei Fandom as Subculture." Doctoral thesis, Universitat Autònoma de Barcelona. Programa de Doctorat en Traducció i Estudis Interculturals, 2021. http://hdl.handle.net/10803/672025.
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Durante la primera década del nuevo milenio, la televisión, revistas y periódicos chilenos se enfocaron en grupos de jóvenes y en sus estilos de moda, gustos musicales y tendencia a utilizar los espacios públicos como lugares de reunión. Aquellos de la capital, Santiago de Chile, fueron los de más interés debido a su tamaño y fueron categorizados como tribus urbanas. Entre ellos, uno se destacaba por sus extravagantes cabellos, ropas y maquillaje oscuros, androginia y el idioma de la música que escuchaban: visuals, el nombre otorgado a los fans chilenos del género musical japonés visual kei. El visual kei había llegado a las audiencias chilenas como parte del influjo de cultura popular japonesa que, a su vez, había sido encabezado por el anime. Sin embargo, el visual kei en Chile había evolucionado hasta convertirse en su propio ambiente especializado y distinguible tanto de otros grupos basados en géneros musicales como de otras asociaciones formadas alrededor de medios japoneses.Esta investigación trabaja con la idea de que los visuals de Santiago de Chile constituyen una subcultura, la cual sigue patrones fijadas por una larga tradición de culturas juveniles en el país. En este desarrollo, el visual kei sirve, por una parte, como un factor aglutinante y, por otra, como un elemento de articulación de identidades en relación a la sociedad chilena en general. Estos problemas se exploran a través de la aplicación del concepto de «subcultura» en su acepción desarrollada por el Centro de Estudios de Cultura Contemporánea de la Universidad de Birmingham y teóricos posteriores. Apoyándose en investigación etnográfica, el presente trabajo concluye que los visuals de Santiago operan como una subcultura en términos de sus espacios y experiencias compartidos y de los límites cambiantes que han desarrollado a través de su historia.During the first decade of the new millennium, Chilean television, magazines, and newspapers turned their attention to groups of young people and their fashion styles, music tastes, and tendency to use public spaces as gathering spots. The ones of the capital, Santiago de Chile, were of the most interest due to their size and were categorized as urban tribes. Among them, one stood out due to its members’ outrageous hairstyles, dark makeup and clothing, androgyny, and the language of the music to which they listened: visuals, the name given to Chilean fans of the Japanese music genre visual kei. Visual kei had reached Chilean audiences as a section of Japanese popular culture influx spearheaded by anime yet had evolved into its own niche scene that stood separate from both other music genre-based groups and from other associations formed around Japanese media. This research works with the notion that Santiago de Chile’s visuals constitute a subculture that follows patterns that had been set by a long tradition of Chilean youth cultures. In this development, visual kei serves as, on the one hand, an agglutinating factor and, on the other, as an element of the articulation of identities in relationship with Chilean society at large. These issues are explored through the application of the concept of “subculture” as developed by the University of Birmingham’s Centre for Contemporary Cultural Studies and subsequent theorists. Supported by ethnographic research, it finds that Santiago’s visuals work as a subculture in terms of shared experiences, spaces, and the shifting boundaries that have developed throughout its history.
Universitat Autònoma de Barcelona. Programa de Doctorat en Traducció i Estudis Interculturals
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Yang, Hsin-Yen. "Re-interpreting Japanomania: transnational media, national identity and the restyling of politics in Taiwan." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/765.
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This dissertation offers a historical and cultural analysis of the highly controversial Japanomania (ha-ri) phenomenon in East Asia with a special focus on post-authoritarian Taiwan. Despite its colonial relations with Japan and its relatively small population of twenty-three million, Taiwan has become the largest market for Japanese trendy dramas outside Japan in the late 1990s and early 2000s. Attracted by these Japanese idol dramas, pop music and fashion, many Taiwanese youths became loyal to anything Japanese. The Japanomania phenomenon in Taiwan aroused stringent public condemnation for being detrimental to national pride and was commonly regarded as a social pathology. I offer my intervention into this debate by arguing that Japanomania consumption has little to do with nostalgia towards Japanese colonization. Rather, Japanomania is best understood as a response to the particular, lived conditions of the generation of Taiwanese who came of age in the 1990s. Given the prevalence of Japanomania among this generation, and given the fact that this was the same generation of young voters who were key to the election of the first opposition party President in 2000, it is remarkable that the connections between these two significant youth movements have been overlooked in existing scholarship. Based on my research and on my own lived experience and participation in both of these movements, I argue that Japanomania discourse in fact played a crucial role in Taiwan's democratization and nation-building in the 1990s.
To de-mystify the intensive consumption of Japanese popular culture in Taiwan, I critically analyze interviews, online Bulletin Board Systems (BBS), historical archives, Japanese TV dramas, and political campaign materials. Such mediated forms give us access to the fluid and mobile field of subject formation in a transitional society. I conclude that transnational culture serves as a medium for Taiwanese politics, and for the current fourth generation in particular. In addition, I suggest that transcultural consumption has political potential not only in Taiwan but also in other contexts such as the United States, Latin America, Europe, and Southeast Asia. This dissertation tackles some of the most fundamental questions in communication studies: the influence of media on politics and the role that people play in making meaning in the context of democratization and globalization. By creating a dialog between this East Asian cultural phenomenon and Western critical theories of culture and globalization, my research also contributes to the development of a multilevel and multicultural approach to discourse, audience studies and globalization studies.
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Lawless, Jonathan W. "The representation of marginal youth in contemporary Japanese popular fiction marginal youth and Ishida Ira's Ikebukuro West Gate Park /." Connect to this title, 2008. http://scholarworks.umass.edu/theses/139/.
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Bell, Annika. "The Comic Artist as a Post-war Popular Critic of Japanese Imperialism : An Analysis of Nakazawa Keiji’s Hadashi no Gen." Thesis, Stockholms universitet, Avdelningen för japanska, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-121925.
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Hirao, Akiko. "Binding a Universe: The Formation and Transmutations of the Best Japanese SF (Nenkan Nihon SF Kessakusen) Anthology Series." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20723.
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The annual science fiction anthology series The Best Japanese SF started publication in 2009 and showcases domestic writers old and new and from a wide range of publishing backgrounds. Although representative of the second golden era of Japanese science fiction in print in its diversity and with an emphasis on that year in science fiction, as the volumes progress the editors’ unspoken agenda has become more pronounced, which is to create a set of expectations for the genre and to uphold writers Project Itoh and EnJoe Toh as exemplary of this current golden era. This thesis analyzes the context of the anthology series’ publication, how the anthology is constructed, and these two writers’ contributions to the genre as integral to the anthologies and important to the younger generation of writers in the genre.
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Lackney, Lisa M. "From Nostalgia to Cruelty: Changing Stories of Love, Violence, and Masculinity in Postwar Japanese Samurai Films." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279473191.
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Santos, André Noro dos. "A cultura otaku no Brasil: da obsessão à criação de um Japão imaginado." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20752.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The objective of this thesis is to analyze the behavior of the Brazilian otakus and how they imagine and translate their obsession with the Japanese culture. As an empirical object we chose the manga created by Brazilians and some otaku communities reunited in social networks and pop culture events. The hypothesis is that in the translation of the otaku culture and its media products, rather than a language search that could generate, for example, a "mongrel manga", is the mimesis and the assimilation of a behavior and a way of life which, in the Brazilian version, becomes quite unique and, not rarely, distant from some stereotypes generated by the Japanese themselves. In this regard, we observe that the Brazilian otakus have nothing to do with the image of the introspective otakus that marked the beginning of the movement in Japan. The theoretical fundation was based on foreign (e.g. Azuma and LaMarre) and Brazilian (e.g. Luyten, Nunes and Almeida) bibliographies that analyzed the phenomenon. In methodological terms, the research was also extended to the social networks, which constitute the major means of communication of the otakus, as well as to places of concentration of these groups such as the Liberdade neighborhood in São Paulo. The results indicate that the Brazilian otaku culture was gradually becoming another way of commercializing an imagined Japan (Greiner 2015 and 2017), differing from other experiences by focusing exclusively on Japanese culture, without adopting a generic Asian image
O objetivo desta tese é analisar o comportamento dos otakus brasileiros e o modo como imaginam e traduzem a sua obsessão pela cultura japonesa. Como objeto empírico elegemos o mangá criado por brasileiros e algumas comunidades otaku reunidas em redes sociais e eventos de cultura pop. A hipótese é que na tradução da cultura otaku e de seus produtos midiáticos, mais do que uma pesquisa de linguagem que poderia gerar, por exemplo, um “mangá mestiço”, trata-se da mimese e da assimilação de um comportamento e de um modo de vida que, na versão dos brasileiros, torna-se bastante singular e, não raramente, distante de alguns estereótipos gerados pelos próprios japoneses. Neste sentido, observamos que os otakus brasileiros nada têm a ver com a imagem dos otakus introspectivos que marcaram o início do movimento no Japão. A fundamentação teórica partiu de bibliografias estrangeiras (e.g. Azuma e LaMarre) e brasileiras (e.g. Luyten, Nunes e Almeida) que analisaram o fenômeno. Em termos metodológicos, a pesquisa foi também ampliada para as redes sociais, que se constituem como o principal meio de comunicação dos otakus, assim como para locais de concentração desses grupos, como o bairro da Liberdade em São Paulo. Os resultados indicam que a cultura otaku brasileira foi, aos poucos, se transformando em mais um meio de comercialização de um Japão imaginado (Greiner, 2015 e 2017), diferenciando-se de outras experiências por focar exclusivamente na cultura japonesa, sem adotar uma imagem genérica asiática
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真梨, 永冨, and Mari Nagatomi. "Tokyo rodeo : transnational country music and the crisis of Japanese masculinities." Thesis, https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13100462/?lang=0, 2019. https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13100462/?lang=0.
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本論文は、日本人男性とカントリー音楽を事例とした、日本人のアメリカ文化との遭遇に関する研究である。本論文では、なぜ日本人男性がアメリカのカントリー音楽とそのシンボルであるカウボーイを消費したかについて考察する。日本人男性は、これらの「典型的」とも言われるアメリカのシンボルを通して、日本の国家建設や、方向性に必要不可欠な、日本人男性性について議論していたと主張する。This dissertation is a case study about the Japanese encounter with American culture by dealing with Japanese men and American country music. I investigate why Japanese men consumed American country music and cowboy images that served as the music's main symbol. Those Japanese men's encounter with American country music shows us that Japanese men received this music from the US in multifaceted ways, rather than simply as a way to understand US-Japan relations. I argue that these Japanese men used American country music and cowboy images to debate about Japanese masculinity, which was intrinsic to Japanese nation-building, aims and identities.
博士(アメリカ研究)
Doctor of Philosophy in American Studies
同志社大学
Doshisha University
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Saito, Satomi. "Culture and authenticity: the discursive space of Japanese detective fiction and the formation of the national imaginary." Diss., University of Iowa, 2007. https://ir.uiowa.edu/etd/145.
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In my thesis, I examine the discursive space of the detective fiction genre following Kasai Kiyoshi's periodization in his two-volume seminal work Tantei shosetsuron (The Theory of Detective Fiction, 1998). I investigate how Japanese detective fiction has developed in relation to Japan's modernization, industrialization, nationalism, and globalization, specifically in the 1920s-30s, the 1950s-60s, and from the 1990s to present. By historicizing the discursive formation of the genre in decisive moments in Japanese history, I examine how Japanese detective fiction delineated itself as a modern popular literature differentiating itself from serious literature (junbungaku) and also from other genres of popular fiction (taishu bungaku). My study exposes the socio-political, cultural and literary conditions that conditioned the emergence of the detective fiction genre as a problematic of Japanese society, stitching fantasy and desire for the formation of the national subject in the cultural domain.
I investigate the dynamics through which Japanese detective fiction negotiates its particularity as a genre differentiating itself from the Western model and domestically from the conventional crime stories of the Edo and Meiji periods. Chapters One through Three of my study examine Japan's socio-cultural contexts after the Russo-Japanese war, specifically magazine culture and the rise of the detective fiction genre (Chapter I), the I-novel tradition and its relation to the genre (Chapter II), and representations of Tokyo as an urban center, focusing on Edogawa Ranpo's "Inju" (Beast in the Shadows, 1928) (Chapter III). Chapters Four through Six investigate the socio-cultural contexts after World War II, especially Japan's democratization in the 1950s-60s and the rearticulation of the genre through repeated debates about authenticities in Japanese detective fiction (Chapter IV), and the transition from tantei shosetsu (detective fiction) to suiri shosetsu (mystery) focusing on Yokomizo Seishi's Honjin satsujin jiken (The Honjin Murder Case, 1946) and Matsumoto Seicho's Ten to sen (Points and Lines, 1957) as representative works of the two trends (Chapter V), and finally the postmodern "return" to the prewar tradition in the 1990s (Chapter VI).
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Acres, Harley Blue. "Gender bending and comic books as art issues of appropriation, gender, and sexuality in Japanese art /." Birmingham, Ala. : University of Alabama at Birmingham, 2007. http://www.mhsl.uab.edu/dt/2007m/acres.pdf.
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Adamson, Jennifer L. "Genji in graphic form "the Tale of Genji" in Manga, and the bond between Japan's past and present in popular art /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212071173.
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Thesis (M.A.)--University of Cincinnati, 2008.Advisors: Mikiko Hirayama PhD (Committee Chair), Kimberly Paice PhD (Committee Member), Teresa Pac PhD (Committee Member). Title from electronic thesis title page (viewed Sept. 8, 2008). Includes abstract. Keywords: manga; comic; the tale of genji; yamato-e; popular culture. Includes bibliographical references.
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Adamson, Jennifer L. "Genji in Graphic Form: The Tale of Genji in Manga, and the bond between Japan’s Past and Present in Popular Art." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212071173.
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Távora, Maria Teresa Caldeira Rodrigues de Mendonça Falcão e. "(In) Visibilidades da tradição japonesa no olhar de Távora." Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/18211.
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Resumo introdutório: Nesta tese, procuramos explorar diversos momentos de uma constelação de sentidos que não é senão o reverso teórico da multiplicidade de pontos pelos quais se constituiu, em tempos idos, a viagem do mestre Fernando Távora pelo Japão - o zénite de todos os locais que percorreu, por isso tão amplamente abordado - e procura tornar visível não somente aquilo que já seria um trabalho de monta, a saber, as fortes influências arquitectónicas - i.e., as componentes especificamente técnicas e visuais assaz tratadas ao longo do texto - que Távora recebeu ao longo do seu percurso pelo Japão, mas, igualmente e com ainda maior relevo, a possibilidade de o Japão ter sido, para Távora, mais do que um espaço físico tridimensional onde beber e digerir pontos de vista alternativos do que é construir e habitar, um espaço mental, onde Távora, enquanto pensador da arquitectura, et pour cause, da vida, encontra, paradoxalmente, do outro lado do mundo, a sua casa de ideias. A coluna vertebral desta hipótese - por ora chamemos-lhe assim - assenta na forma como Távora recebe a ideia de mundo moderno e de arquitectura Moderna, muito especialmente pela figura omnipresente de Le Corbusier, e como o fascínio púbere pelo movimento moderno se vai dissolvendo face ao espírito crítico de Távora, que não concebe uma arquitectura impessoal e universal, embevecida pela ideia dela própria e cada vez mais afastada das pessoas que visa dar guarida. O auto-erotismo da modernidade, que acaba por estar presente em todas as artes que gradualmente se convertem ao questionamento crítico das suas bases, âmbitos e propósitos (a própria ideia de moderno) é, para Távora, a par de uma ampliação generosa do património de adquiridos, um momento de auto-asfixia. O mestre não concebe uma arquitectura só e somente apaixonada pela ideia de si própria e dos seus desígnios, mormente da ideia motriz segundo a qual a natureza é finalmente vencida (e, desde logo, tristemente abandonada) e, incapaz de voltar para trás (não se pode viver no passado sob pena de fazer parte dele) Távora acaba por tomar em mãos a dura tarefa de encontrar um sentido pelo qual os pólos opostos e aparentemente irreconciliáveis da modernidade e da tradição possam dar corpo e expressão a uma nova arquitectura. O Japão, o país dos oximoros, acaba por ser o espaço mental onde Távora madurece definitivamente a sua ideia de arquitectura. A forma de estar, construir e habitar dos japoneses, profundamente enraizada na tradição e espraiando as suas composições no solo fértil da modernidade, é a chave através da qual Távora vai sanar as diversas dificuldades que o movimento moderno apresentava. A viagem de Távora é mais do que a soma dos múltiplos pontos pelos quais passou; é, na verdade, uma totalidade sintética anterior à constituição dos seus momentos, é uma ideia. E essa ideia, com que Távora vai tendo vários níveis de contacto, do sub-reptício ao concreto da evidência, revela-se com todo o seu esplendor no Japão das contradições, onde Távora, pela primeira vez, se consegue ver inteiramente ao espelho; lntroductory summary: ln this thesis, we try to explore various moments of a constellation of meanings that represents the theoretical reverse of the multiplicity of points through which took place the journey of master Fernando Távora in japan, in the sixties - the zenith of all the places he travelled to, therefore so extensively discussed. We intend to make visible not only what would be a demanding work, namely the strong architectural influences - i.e., the specific technical and visual components quite addressed along the text - that Távora received throughout his japanese route, but also and with even greater emphasis the possibility that japan has been more than a three-dimensional space where he absorbed and assimilated alternative views of what means building and inhabiting. Beyond that, it was a mental space where Távora, while philosopher of architecture et pour cause of life, paradoxically finds, on the other side of the world, his home of ideas. The backbone of this hypothesis - Iet us say so for now - depends on how Távora gets the idea of the modern world and modern architecture, especially the omnipresent figure of Le Corbusier, and how the pubertal fascination for the modern movement starts dissolving against the critical spirit of Távora. Indeed, he does not conceive an impersonal and universal architecture, enraptured by its own idea and increasingly detached from the people it aims to give shelter. The autoeroticism of modernity, which turns out to be present in all the arts that gradually convert to the critical questioning of their bases, scopes and purposes (the very idea of modern), is, along with a generous expansion of the acquired heritage, a moment of self-asphyxiation for Távora. The master does not conceive a kind of architecture only passionate about the idea of itself and its purposes, especially the driving idea according to which nature is ultimately defeated (and, hence, sadly abandoned). Thus, unable to turn back (you cannot live in the past under penalty of being part of it), Távora eventually takes on the daunting task of finding a sense in which the seemingly irreconcilable opposites of modernity and tradition can give body and voice to a new architecture. Japan, the country of oxymoron’s, turns out to be the mental space where Távora matures definitely his idea of architecture. The Japanese way of being, building and inhabiting, deeply rooted in tradition and spreading its compositions in the fertile soil of modernity, is the key through which Távora will remedy the difficulties presented by the modern movement. His journey is more than the sum of multiple points he went through, it is indeed a synthetic wholeness preceding the unravelling of its moments, it is an idea. And this idea, with which Távora has various levels of contact, from the surreptitious to the concrete evidence, reveals Itself in all its splendor in the contradictions of Japan, where Távora, for the first time, can see himself fully in the mirror.
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Vorobiev, Artem. "The Literature of Shibata Renzaburo and a New Perspective on Nihilism in Postwar Japan, 1945 – 1978." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1511819753995335.
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Chang, Ya-Chi, and 張雅琪. "The relationship of the degree of identification with Japanese popular culture and the effectiveness of Japanesen advertisements." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/44778285578199641263.
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碩士國立東華大學
企業管理學系
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When Star TV began broadcasting Japanese trendy dramas, TV stations in Taiwan eagerly picked up these dramas to gain audience share, and this, in turn, caused “Japan Fever” in society. As the level “Japan Fever” increased, many advertisements also become “Japanized”. This consisted of having Japanese dialogue dubbed in, so that part or all of the dialogue was in Japanese. Besides these TV commercials, there was also an increase in Japanized advertisements in print media such as magazines. After “Japan Fever” was initiated by Japanese dramas through the media, Taiwan’s degree of identification with Japanese popular culture rose to higher and higher levels, as TV and magazine ads also caught “Japan Fever”, as evidenced by the increase in Japanese commercials through these media. But the process through which this occurred and the nature of the actual relation between the effectiveness of Japanese commercials and the degree of identification with Japanese popular culture had yet to be systematically explored. The purpose of this study is to discover the relation between the degree of identification with Japanese popular culture and the effectiveness of Japanese advertisements, and to determine whether a correlation exists between the degree of identification with Japanese popular culture and the effectiveness of Japanese ads. The problem was explored using two kinds of questionnaire. The first questionnaire required respondents to choose the items most representative of Japanese popular culture in Taiwan, and the second questionnaire measured the relation between the degree of identification with Japanese popular culture and the effectiveness of Japanese ads. For control purposes, the research also used a Chinese commercial to make comparisons between the correlation between each consumer’s identification with Japanese popular culture and the effectiveness of Japanese ads and the correlation between his/her identification with Japanese popular culture and the effectiveness of Chinese ads. Data were analyzed Microsoft Excel and SPSS for Windows 10.0. The findings of the research are as follows: 1.The relation between the degree of identification with Japanese popular culture and the effectiveness of Japanese ads is a “mid-degree positive correlation”. A higher degree of identification with Japanese popular culture results in a higher effectiveness of Japanese ads. 2.The correlation between the degree of identification with Japanese popular culture and the effectiveness of Japanese ads is higher than the correlation between the degree of identification with Japanese popular culture and the effectiveness of Chinese ads, with respect to the four measures of ad effectiveness used in the study and the overall effectiveness of the ad. 3.On the average, female respondents’ degree of identification with Japanese popular culture was higher than that of male respondents. That is, female respondents identified with the items that were used to represent Japanese popular culture to a higher degree than male respondents. 4.The correlation between time spent learning Japanese and the degree of identification with Japanese popular culture did not prove to be significant in the research.
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Meldrum, Yukari Fukuchi. "Contemporary Translationese in Japanese Popular Literature." Phd thesis, 2009. http://hdl.handle.net/10048/560.
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One of the main aims of this thesis is to examine the translational situation of popular fiction in post-industrial Japan. Specifically, the goal is to uncover two main aspects surrounding the phenomenon of translationese, the language used in translation. One aspect to be investigated is the characteristic features of Japanese translationese, and the other is readers’ attitudes toward translationese. This research is conducted within the framework of Descriptive Translation Studies (Toury, 1995). The literature review includes a background of how translationese has been approached previously and how methods from different fields (e.g., corpus linguistics, sociolinguistics) can be used in the research of translation. Through the review of the historical background of Japanese translationese and the development of Japanese writing styles, it is revealed that the translation norm in Japan had been very closely oriented toward the original text.
In the text analysis, the corpora consist of translations from English and non-translations (i.e., originally written in Japanese) in the genre of popular fiction. The goal of the text analysis is to determine whether the features of translationese are actually characteristics of translationese. The features selected for this examination include the following: 1) overt personal pronouns; 2) more frequent loanwords; 3) female specific language; 4) abstract nouns as grammatical subjects of transitive verbs; and 5) longer paragraphs. Two features (third person pronouns and longer paragraphs) are shown to be characteristic of translationese, while others were proven otherwise or questionable (loan words, female language, abstract nouns as subjects of transitive verbs).
Findings from the investigation of readers’ attitudes can help identify what constitutes the “norms” of translation (Toury, 1995, 1999) in Japanese society. Readers appear to be able to tell the difference between translation and non-translation. However, readers’ attitudes toward both translationese and non-translationese are more or less neutral or slightly positive. This may indicate that Japanese translationese has become integrated into the contemporary Japanese writing system and that readers do not regard translationese as overtly negative. This study shows that the major translation norm is becoming more domesticated translation in popular fiction, with the focus on making translations easier for the readers.Translation Studies
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Chih-Ming, Cheng, and 鄭智銘. "The Research of Japanese Popular Culture in Taiwan." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/91188076019197095572.
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Novak, Irina. "Do the Japanese dream of a robotic future? Expressing posthumanism in Japanese media." Thesis, 2010. http://hdl.handle.net/1828/3288.
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Technology in Japan has reached ubiquitous status and its development is one of the main priorities of state policy. which includes a wide range of programs aimed at increasing the involvement of IT in everyday life as an improvement of both society and humanity itself.
On the other hand, there seems to be resistance among citizens of western countries to accept refrigerators able to tell you that you are almost out of eggs, or cars that remind you to fasten the safety belt or check your breath for the presence of alcohol before you can drive. There seems to he resistance for us to talk to machines as if they were alive. The question thus emerges: why are the Japanese so conscious about technologies? What is there in Japanese spirituality, tradition, history, or ideology that facilitates the acceptance of Information Technologies and Artificial intelligence as not only an integral part of daily life, but in fact as forms of actual consciousness?
This thesis will deal with two aspects of contemporary life of Japanese - technologies and Shinto as a part of daily routine. These two aspects lead us to the concept of posthumanism as well as a religious concept of Shinto as a way of life in Japan. The questions arising from this approach are why and how information technologies are related to Shinto. Why is this relation almost inevitable? To answer these questions, this thesis will analyze the personification of technology in both Japanese animated film and in consumer products.Graduate
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Feldman, Ross Christopher. "Enchanting modernity : religion and the supernatural in contemporary Japanese popular culture." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-08-3903.
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This thesis examines the ways in which popular culture reveals, and shapes, religious thinking in contemporary Japan. Through an investigation of popular culture including animated films (anime) and graphic novels (manga), and the cultural processes related to their production and consumption, it explores how and why popular culture in Japan is acting as a repository for ideas and images relating to religion, the supernatural, and the human and non-human agents who mediate them.
Popular culture is important not only for the ways it discloses contemporaneous cultural trends, but because it acts in dialogic tension with them. In Japan, where society has grown increasingly secularized since at least the middle of the twentieth century, an overwhelming majority of citizens consider themselves non-religious. Surveys have consistently indicated that only a small percentage of respondents identify as actively Shintō, Buddhist, Christian or some other religious affiliation. At the same time, depictions of religious images and themes have grown exponentially in popular culture such that a recent internet search on “anime” plus “kami” (a Shintō deity) produced an astounding 20,100,000 hits. Clearly, religion continues to play a crucial role in the popular imagination.
This juncture of popular culture and personal religious identity in contemporary Japan raises a number of questions discussed in the following chapters. What benefits do consumers derive from the treatment of religious themes in anime and manga? What do depictions of religion in popular media indicate about the construction of religious identity in Japan? Why the disparity between religious identification survey results and cultural consumption of religious themes and images? In short, what are the ways in which popular culture in Japan reveals ideas about religion and the supernatural, and in what ways does popular culture actively shape those conceptions?text
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Hui-Wen, Ho, and 何慧雯. "Japanese Popular Culture: Influences, Reflections, and Cross Cultural Relationship." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/30717203106639506445.
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Condry, Ian. "Japanese rap music an ethnography of globalization in popular culture /." 1999. http://catalog.hathitrust.org/api/volumes/oclc/44699525.html.
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Chen, Mei-Fang, and 陳美方. "Taiwanese Consumer Behavior Under the Influence of Japanese Popular Culture." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/62805436811086509186.
Full textAbstract:
碩士義守大學
應用日語學系碩士班
99
With the prosperity and development of television network and media in the recent year, cultural exchanges between countries have become easier than before, the coming of so called “ globalization era”. This study intended to investigates whether the consumption behavior of Taiwanese people if influenced by Japanese pop culture. In this study we found that consumers developed buying desire when the products have advertised with Japanese labels. Taiwan and Japan are geographically closed with some many similarities in language use which mean culturally can easily be affected. In addition,, with the trend of “Japanophile” ( a non-Japanese person with a strong interest in one or more aspects of Japan or Japanese culture),has not diminished, and the consumption habit of Taiwanese people have changed considerably since the Japan ruling of Taiwan. There are many products use Japanese advertising in the packaging that show the high acceptance of products from Japan or with Japanese labeling. Questionnaires on the influences of Japanese pop cultures on consumer behavior of Taiwanese peoples- the results of the survey matched the view of this study, accounted for 92.03% , another proof that Japanese pop culture do have influence and affect on consumer behavior of the people in Taiwan.
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I-Pei, Fang, and 方逸珮. "The Evolution and Integration of Japanese Loan Words Popular Among Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/73235571239431001400.
Full textAbstract:
碩士輔仁大學
翻譯學研究所
98
This thesis aims to study the Japanese loan words that are often used in Taiwan. Besides studying the forms and meanings of Japanese loan words in the context of the source language, this thesis also discusses whether these loan words change in meaning, form and usage or evolve into new derivative words when used in Taiwan. By studying how Japanese loan words evolve, grow and integrate themselves into the target language, this thesis hopes make contributions in the translation of popular Japanese loan words as well as in other related areas. The corpuses used in this thesis include newspapers between July 2008 and December 2008 from the three major newspapers in Taiwan, papers and questionnaires done by Taiwan university students studying in Japanese language departments. The Internet was used to verify the usage situations of the loan words. A list of Japanese loan words was compiled using the corpuses, and this list of words was then used to study the derivatives, changes in category or meaning and new additions to the corpus. This study also interviewed fifty people from Japan and Taiwan and asked them to compare and observe whether there are differences in the positive and negative appraisals of each Japanese loan word on the list in the context of the source language and target language. The interviewees were also asked to discuss the reasons for the differences. Using the above research methods and processes, this thesis aims to explore how Japanese loan words are used in Taiwan and how they are integrated into local culture. This thesis also describes how these loan words acquire new meanings in Taiwan, the changes in their internal structure and the difference in their positive and negative appraisals.