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Hirayama, Yō. "Nishida tetsugaku no saikōchiku sono seiritsu katei to hikaku shisō /." Kyōto-shi : Mineruva Shobō, 1997. http://catalog.hathitrust.org/api/volumes/oclc/38916114.html.
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Originally presented as the authorʼs thesis (doctoral--Tōhoku Daigaku) under title: Nishida "zenki" tetsugaku no kenkyū.Errata slip inserted. Includes bibliographical references (p. 273-285) and indexes.
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Cunningham, Eric Paul. "Visions of a place beyong time : Nishida Kitaro's historical world and the problems of overcoming modernity /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120617.
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Thesis (Ph. D.)--University of Oregon, 2004.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 456-480). Also available for download via the World Wide Web; free to University of Oregon users.
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Hantke, Myriam-Sonja. "Die Poesie der All-Einheit bei Friedrich Hölderlin und Nishida Kitarō." Nordhausen Bautz, 2008. http://d-nb.info/995272468/04.
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Hoffmann, Alexander. "Kenosis im Werk Hans Urs von Balthasars und in der japanischen Kyoto-Schule ein Beitag zum Dialog der Religionen." Bonn Borengässer, 2007. http://d-nb.info/991408462/04.
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Hoffmann, Alexander. "Kenosis im Werk Hans Urs von Balthasars und in der japanischen Kyoto-Schule : ein Beitag zum Dialog der Religionen /." Bonn : Borengässer, 2008. http://d-nb.info/991408462/04.
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Bove, Frank John. "SOCIAL SELF AND RELIGIOUS SELF: AN INQUIRY INTO COMPASSION AND THE SELF-OTHER DIALECTIC." [Kent, Ohio] : Kent State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1195568243.
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Thesis (M.A.)--Kent State University, 2007.Title from PDF t.p. (viewed July 3, 2008). Advisor: Jeffrey Wattles. Keywords: social self; self-other dialectic; pure experience; I-Me; I-Thou; sunyata; kenosis; basho; absolute nothingness; George H. Mead; Nishida Kitaro; Steve Odin. Includes bibliographical references (p. 65).
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Dalissier, Michel. "Anfractuosité et unification : la philosophie de Nishida Kitarô /." Genève : Droz, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9782600011884.
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Bastarache, Martin J. "Nishida Kitaro and the Question of Japanese Fascism." Thesis, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20203.
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There has been considerable debate within the field of Japanese intellectual history with respect to the influence of Nishida Kitarō (1870-1945) on the ideological foundations and philosophical justification of Japanese fascism. One of the most influential Japanese thinkers of the twentieth century and widely considered to be the father of modern Japanese philosophy, his contemporary relevance is considered to be at risk should these accusations be true. As such, contemporary scholars have attempted to show how Nishida’s philosophy was decidedly anti-fascist, and that he was in fact opposed to the actions of the wartime regime. However, as this thesis will argue, by considering Nishida’s philosophy within the larger historical context of global modernity one can see that his contemporary relevance lies in just that which allows one to consider his thought as fascist, his critique of modernity. Nishida was reacting to the transforming social and cultural landscapes that had followed the modernization of Japan initiated by the Meiji Restoration (1868). As a result, he attempted to posit a transhistorical ideal of Japanese culture, embodied concretely in the Emperor that could withstand the social abstractions of modernity. However, it was ultimately his failure to grasp his own conditions of possibility in the very modernity that he was critiquing that pushed his thought increasingly to the right, helping to fuel and legitimize the emerging fascist ideology.
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Debska, Kinga Izabela. "Kino Takeshi Kitano." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-78767.
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Greene, Barbara. "Furusato and Emotional Pilgrimage Ge Ge Ge no Kitaro and Sakaiminato." NANZAN INST RELIGION CULTURE, 2017. http://hdl.handle.net/10150/625071.
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The town of Sakaiminato, on the western coast of Japan, has revitalized its local economy through the transformation of the downtown into a tourist destination for fans of the popular manga creator Shigeru Mizuki. The strategy used by the local community closely replicates the traditional pilgrimage patterns established in Japan; however, the focus has been shifted from a religious to secular world view. While the iconography and meaning has changed, the emotional resonance has remained the same, with fans of the series developing a shared sense of community and a connection to some trans-societal force. This attempt to link older religious practices with modern fan cultures has been further strengthened by directly tying tourism with new releases of Mizuki's work.
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Hoaas, Terje. "Takeshi Kitano : i sin egen beat /." Oslo : Institutt for medier og kommunikasjon, Universitetet i Oslo, 2008. http://www.duo.uio.no/publ/mediekomm/2008/80551/HoaasxTerje_Masteroppgave_V2008.pdf.
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Dalissier, Michel. "Nishida kitarô: une philosophie de l'unification." Paris, EPHE, 2005. http://www.theses.fr/2005EPHE4050.
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La philosophie de Nishida Kitarô propose une méditation originale sur la notion d'unification (tôitsusuru), qui permet d'une part de relire sous un éclairage nouveau et singulier une certaine histoire de la philosophie occidentale, de l'autre d'apporter une réponse neuve à la problématique des rapports de l'un et du multiple, consistant à critiquer l'idée d'une unification conçue comme un processus fini d'union, ramenant le divers à l'unité. Au sein de son premier ouvrage de 1911, la Recherche sur le bien, l'unification est présentée comme une dialectique cosmique infinie de l'unité et de la différence, dont la conscience humaine reproduit dans sa soif de synthèse une expression insigne aux niveaux psychologique et épistémique. Cette théorie s'approfondit dans un second ouvrage de 1917, Intuition et réflexion dans l'éveil à soi, à la faveur d'investigations de nature épistémologique, phénoménologique, et métaphysique ; l'unité sans cesse relancée à la recherche de son fondement, risque à chaque moment de sa course unificatrice une pétrification en unité dernière, et l'unification qui l'anime une transfiguration fallacieuse en processus d'union finie. Cette théorie ne trouve pourtant sa justification philosophique la plus essentielle que dans la " logique du lieu ", selon l'esquisse qu'en propose l'auteur en 1926 dans l'essai " le lieu ". Car une unification infinie ne peut survenir que dans le lieu d'un néant absolu qui, dans sa dynamique propre, relance toujours l'unité dans cette perpétuelle construction d'elle-même. Il appartiendra à la philosophie tardive de Nishida de tirer les conséquences de cette théorie quand à la praxis et la poiesis de l'homme dans le mondeNishida Kitaro's philosophy intends an original meditation about the notion of unification (tôitsusuru), which allows us from one part to read again, into a new and remarkable light, one history of occidental philosophy, and from the other to provide a new answer to the problem of the relations of the one and the many, which consists in criticising the idea of a unification conceived as a finite process of union, bringing back the diverse to unity. Inside his first piece of work in 1911, An Inquiry into the Good, the unification is introduced as an infinite cosmic first dialectic of unity and difference, of which the human consciousness reproduces, in its thirst for synthesis, a fundamental expression, at a psychological and epistemical level. This theory is deepened in a second work of 1917, Intuition and Reflexion in Self-Consciousness, through epistemological, phenomenological and metaphysical investigations; the unity, constinuously restarted and seeking for his foundation, incurs a risk at each moment of its unificational running, a petrification into a last unity, and the unification which animates it a fallacious transfiguration into a finite process of union. This theory through only finds its most essential philosophical justification in the “logic of place”, according to the exposition proposed by the author in 1926 into the essay “the place”. For an infinite unification can only occur in the place of an absolute nothingness, which, according to its own dynamic, always restarts the unity in this undated engineering of itself. It will belong to the late philosophy of Nishida to apply this theory as regards to the praxis and poiesis of man in the world
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Krummel, John. "Chiasmatic Chorology: Nishida Kitaro's Dialectic of Contradictory Identity." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/3958.
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ReligionPh.D.;
In this philosophical work I explicate Nishida Kitaro's dialectics vis-à-vis Mahayana non-dualistic thought and Hegel's dialectical philosophy, and furthermore in terms of a "chiasmatic chorology." Nishida's work makes ample usage of western philosophical concepts, most notably the terminology of Hegelian dialectics. Nishida himself has admitted affinity to Hegel. And yet content-wise the core of Nishida's thinking seem close to Mahayana Buddhism in its line of thought traceable to the Prajñaparamita sutras. The point of my investigation is to clarify in what regard Nishida's dialectic owes allegiance to Hegel and to Mahayana and wherein it diverges from them. Moreover to what extent is Nishida's appropriation of Hegelian terminology adequate in expressing his thought? The work explicates the distinctive aspects of Nishida's thinking in terms of a "chiasmatic chorology" to emphasize the inter-dimensional and placial complexity of the dialectic. In summary two overarching concerns guide the work: 1) The relation of Nishida's dialectic to its forebears -- Mahayana non-dualism and Hegelian dialectics --; and 2) The distinctness of that dialectic as a "chiasmatic chorology." The work concludes that while Nishida, in his attempt to surmount the dualism of Neo-Kantianism, was led to Hegel's dialectic, the core ideas of his dialectic extend beyond the purview of Hegelianism. Contentwise his dialectic is closer in spirit to Mahayana. While Nishida admits to such commensurability with key Mahayana doctrines, his thought nevertheless ought not to be confined to the doctrinal category of "Buddhist thought" both because of its eclectic nature that brings in elements drawn from western and eastern sources, thereby constituting his work as a "world philosophy"; and because of its creative contributions, such as the formulation of basho and its explication in dialectical terms. What cannot be expressed adequately in terms of Hegelian dialectics is the concrete chiasma of what Nishida calls his "absolute dialectic." Moreover its founding upon the choratic nature of basho not only escapes the grasp of Hegel's self-knowing concept but extends beyond previous formulations within Buddhism.
Temple University--Theses
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Jones, Christopher S. "Ideas at war : Nishida Kitarô and the philosophical context of the co-prosperity sphere." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273235.
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Bingham, Adam R. "Kitano Takeshi : authorship, genre & stardom in Japanese cinema." Thesis, University of Sheffield, 2009. http://etheses.whiterose.ac.uk/10339/.
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Kitano Takeshi is, quite simply and inescapably, unlike any other artist at work in the world today. In his native Japan he is one of the most popular and enduring entertainers of the last thirty years. Under the stage name Bi"to (Beat) Takeshi he is famous as a stand-up comedian, a film actor and a television personality. With up to seven shows every week on Japanese television, he is a perennial, ubiquitous figure: someone who can move from vulgar comedy to talk shows about the Japanese economy or about the Japanese themselves and back with apparent ease. Elsewhere (most often under his real name) he is or has been variously known and acclaimed as a painter, novelist, singer, poet, critic, radio host, newspaper columnist and magazine essayist: and latterly has been the driving force behind his own production company, Office Kitano. In addition to this, Kitano also has what he self-deprecatingly (and somewhat disingenuously) calls a 'hobby'. He is a filmmaker - a writer/director of world-renown, arguably the most important and celebrated Japanese director of his generation and almost certainly today the most famous on the world stage. Indeed, if his status as the foremost TV personality in Japan over recent decades is beyond doubt (among others accolades, he was named in a national poll as the country's favourite television celebrity for six consecutive years), so too is his importance within the Japanese film industry of the 1990s and thereafter. Despite his curious absence from certain discourses on contemporary Japanese filmmaking, Kitano' s centrality to his country's cinema cannot be overstated. Domestically, he was instrumental in shaping the direction that mainstream filmmaking took in Japan in the 1990s. Along with Tsukamoto Shinya's Tetsuo (Tetsuo: The Iron Man, 1989), Kitano's first film Sono otoko, kyobo ni tsuki (Violent Cop, 1989) reintroduced violent genre material onto Japanese screens more than a decade after the last heyday of the Yakuza film (with Fukasaku Kinji and Ishii Teruo) had ended. Like Fukasaku, director of the Yakuza films series that revolutionized the genre in the early 1970s, Kitano's early innovations in the Yakuza and Cop film indelibly transformed what had since the 1970s become staid and antiquated generic forms, and brought about a popular revival in line both with contemporary social malaise and with a detailed stylistic revision and transformation of narrative technique.
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Wada, Maho. "Stille Gewalt Inszenierungen des Todes in den Filmen von Takeshi Kitano." Berlin Avinus-Verl, 2005. http://www.avinus.de/html/academia.html.
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Ferreira, Gustavo Henrique Lima. "O Sangyo em Dolls: um encontro do Bunraku com Takeshi Kitano." Universidade Federal do Rio Grande do Norte, 2013. http://repositorio.ufrn.br:8080/jspui/handle/123456789/12450.
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This work aims to investigate the relationship between the Bunraku theater and the film Dolls (2002), by the Japanese director Takeshi Kitano. To do so, it was initially done a theoretical study of this theater, detailing its key elements, and thus allowing a direct analysis of the film to be made. The main objective here was to reveal the film‟s connections with the Bunraku. The Sangyo refers to the simultaneous presence of three arts in the Bunraku theater: the narrative, the music and the manipulation of puppets. In Dolls, the director Takeshi Kitano presents a narrative through three different stories, all built with references to the Bunraku. As in the theater the three distinct arts harmonize on stage, in Dolls three separate stories will perform in harmony within the film. By confronting the Bunraku Theater with the film Dolls, the intention is to establish the connections between the scenic language of the Bunraku, the dramaturgy of Chikamatsu and also the cinema of Kitano. These connections allow to the understanding of how characteristics of a secular art, governed by strong rules and conventions, can be presented again through another language: the cinematic language and its particular set of codes and conventions
Este trabalho tem por finalidade investigar as rela??es existentes entre o Teatro Bunraku e o filme Dolls (2002) do diretor japon?s Takeshi Kitano. Para isso, foi feito inicialmente um estudo te?rico desse teatro, elencando seus principais elementos, permitindo ent?o, uma an?lise direta do filme, buscando revelar suas conex?es com o Bunraku. O sangyo faz refer?ncia ? presen?a simult?nea de tr?s artes no teatro Bunraku: a narrativa, a m?sica e a manipula??o de bonecos. Em Dolls, o diretor Takeshi Kitano apresenta uma narrativa por meio de tr?s hist?rias distintas, todas elas constru?das com refer?ncias ao Bunraku. Assim como nesse teatro tr?s artes distintas se harmonizam no palco, em Dolls tr?s hist?rias independentes v?o se apresentar em harmonia no filme. Ao confrontar os dados do teatro Bunraku com os dados do filme Dolls, o objetivo ? estabelecer as conex?es entre a linguagem c?nica do Bunraku, a dramaturgia de Monzaemon Chikamatsu e o cinema de Takeshi Kitano. Estas conex?es permitem compreender como caracter?sticas de uma arte secular, regida por fortes regras e conven??es, podem ser reapresentadas atrav?s de outra linguagem, no caso a linguagem cinematogr?fica
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Evans, Robert A. "An Aesthetic Attitude: An East - West Comparison of Bullough and Nishida." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1274279326.
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Kitanov, Ksenija [Verfasser], Peter [Akademischer Betreuer] Fiebig, and Stéphane [Gutachter] Gaussent. "Higher-order congruence relations on affine moment graphs / Ksenija Kitanov ; Gutachter: Stéphane Gaussent ; Peter Fiebig." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2018. http://d-nb.info/1154595234/34.
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Grosz, Elizabeth. "The Vulnerability of the Relational Self: G. W. F. Hegel, Simone de Beauvoir, and Nishida Kitarō Meet Patty Hearst." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18428.
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This dissertation examines relational models of selfhood cross-culturally through the work of G. W. F. Hegel, Simone de Beauvoir, and Nishida Kitarō. In the master-slave section of the Phenomenology of Spirit, Hegel states that the self becomes aware of itself only through the presence of the Other. In this encounter, consciousness discovers that the Other can be a source of recognition (Anerkennung). I turn to the work of Beauvoir and Nishida because they further develop Hegel's notion of recognition through their insistence that the face-to-face relationship that incites self-knowledge is mediated by social-historical events and discourses. Fundamentally, they make Hegel's notion of recognition more concrete, thus giving the reader of the master-slave dialectic an idea of the broader implications of Hegel's view. While Nishida uses few examples to illustrate the determinacy of the historical field of relations, Beauvoir's The Second Sex is full of such descriptions, thus offering the reader of Nishida an illustration of the "historical world" that includes dimensions of constituted and constituting forces. Nishida's metaphor of the self as a place of interaction, or basho, in turn, is useful to the reader of Beauvoir who attempts to picture a self that is a project "toward the other." Moreover, their discussions of agency are weighted toward the perspective of the self in the case of Beauvoir and toward the side of the world for Nishida. Ultimately, this difference can be viewed as grounding the distinct ways in which the authors conceive of ethics. Lastly, both authors attribute ethical action to self-surpassing. However, for Beauvoir, the surpassing of one's individuality leads to the transformation of self-other relations through the mutual recognition of freedom, while Nishida's self-surpassing entails seeking a new locus of ethical action, i.e. absolute nothingness.
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Hagen, Lindsay M. "Exemplifying the Modern Spirit: Japanization and Modernization in the Ceramic Art of Miyagawa Kozan (1842-1916), Shirayamadani Kitaro (1865-1948), and Itaya Hazan (1872-1963)." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337717171.
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Zetterberg, Theodor. "Döden på Tomhetens Fält : Döden, Intet och det Absoluta hos Nishitani Keiji och Nishida Kitarō." Thesis, Södertörns högskola, Filosofi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37553.
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This paper examines the role played by death in the philosophy of Nishitani Keiji, through the nondual logic of contradictory identity developed by his teacher and founder of the Kyotoschool of philosophy, Nishida Kitarō. I explore Nishitani’s understanding of how Nothingness, nihility, through our awareness of death penetrates and nullifies existence itself, how the irreality of all being comes to the fore to make being itself unreal. The nullifying nothingness of nihility, however, is still nothingness represented as a something; it is a reified nothing, defined as the antithesis to being and thus still seen as a corollary of being itself. A truly absolute nothingness, what Nishitani calls Śūnyatā, emptiness, must be a nothingness so devoid of being as to not even be nothing; it must be absolutely nothing at all, and thus nothing else than being itself. The final chapter of my paper seeks to apply this nondual understanding of being and nothingness to the question of death itself; to understand the ontological meaning of death - the passage from being to non-being - when being and non-being have been one from the very beginning. The paper also seeks to blur the lines between what has traditionally been considered philosophy and religion, using the thinking of the Kyoto school to point to the deeper ties between the two in the borderland that is buddhist philosophy.
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Mialou, Gérald. "Le cinéma de Kitano Takeshi : l'amour et la mort, dualité au coeur de la violence." Lyon 3, 2009. https://scd-resnum.univ-lyon3.fr/in/theses/2009_in_mialou_g.pdf.
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Entre 1989 et 2009, le metteur en scène japonais Kitano Takeshi réalisa quatorze longs métrages. Auteur de ses propres scénarios, il aborda des genres variés allant des films de yakuza à la simple comédie. Les thématiques de l'amour, la mort et la violence sont apparues de manière récurrente dans ces réalisations, laissant apparaître une vision très personnelle de la société japonaise contemporaine. Par une étude détaillée des œuvres du cinéaste appuyée sur les déclarations et écrits de Kitano Takeshi ainsi que par une étude philosophique, sociologique et religieuse des thèmes concernés, cette thèse a pour objet l'étude de ces thématiques et la mise en relief du rapport entretenu par le réalisateur à ses thèmes de prédilections. Dans un premier chapitre, nous verrons de quelle façon le réalisateur met en images le sentiment amoureux, qu'il s'agisse de la passion amoureuse animant les membres du couple, la tendresse du lien familial ou du lien unissant les membres d'un clan. Puis nous aborderons la mort infligée, subie ou choisie par ses personnages. Enfin, nous considérerons la violence, véritable lien entre l'amour et la mort dans l'œuvre de Kitano TakeshiFrom 1989 to 2009, the japanese director Kitano Takeshi made fourteen feature-length film. Writting his own scripts, he went about various kinds of movies, such as yakuza films or comedies. Love, death and violence thematics appear to be reccurents in the director's movies, giving to the audience a very personnal point of vue of contemporary japanese society. By a detailled study of his movies, supported by interviews or writtings of Kitano Takeshi and philosophical, sociological and religious studies, this dissertation attempts to establish the link between the director and his favourite thematics. We will first see how Kitano exposes the love feelings as a passion between membres of couples or loving link. Then we will deal with inflicted or suffered death and suicide, and finally consider violence as a true link between love and death in Kitano's movies
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Kuroda, Akinobu. "Enjeux, possibilités et limites d'une philosophie de la vie : Kitarô Nishida au miroir de quelques philosophes français." Université Marc Bloch (Strasbourg) (1971-2008), 2003. http://www.theses.fr/2003STR20019.
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Le présent travail se propose de donner une expression précise de la philosophie de Kitarô NISHIDA (1870-1945) dans une langue philosophique française, en développant un réseau thématique constitué par ses thèses fondamentales dans une perspective claire et harmonieuse. Il s'agit de construire une étude cohérente sur le concept phénoménologique de vie, en présentant quelques élaborations originales de Nishida autour de ce concept, et cela au miroir de la phénoménologie française. Pour méthode, nous adoptons une démarche comparative consistant à interpréter et analyser la philosophie de Nishida au miroir de quelques philosophes français comme Maine de Biran, Merleau-Ponty, Michel Henry, sous différents angles, tout en suivant le fil conducteur qu'est la notion de vie, de façon à relever des points-clés autour desquels s'ouvre un espace d'interrogation ou de dialogue où la problématique de Nishida peut s'approfondir ou éventuellement se développer, au-delà même de ce qui a été envisagé par le philosophe lui-même. Il s'agit d'appréhender la logique phénoménique de la vie qui apparaît à elle-même, c'est-à-dire saisie directement en nous dans le monde où nous vivons et que nous habitons. Avec Nishida et Maine de Biran, nous nous interrogeons sur la vie intérieure éprouvée immédiatement en notre soi corporel. Avec Nishida et Merleau-Ponty, nous thématisons la vie perceptive vécue par notre corps propre qui est à la fois voyant-visible et agissant-passible. A travers la confrontation de Nishida et Henry, nous entrons dans une question décisive pour ce projet, celle de l'auto-donation de la vie, en sondant autant la profondeur que les limites de leurs questionnements sur ce qu'il y a de plus réelThe current work proposes to offer a precise expression of the philosophy of Kitarô Nishida (1870-1945) in a French philosophical language, while developing in a clear and harmonious perspective a thematic network constituted by his fundamental theses. The author has constructed a coherent study on the phenomenological concept of life, by presenting several original elaborations of Nishida around this concept, and that reflected by French phenomenology. As for methode, a comparative procedure was adopted, consisting of interpreting and analyzing Nishida's philosophy as reflected by several French philosophers such as Maine de Biran, Merleau-Ponty, and Michel Henry, under different perspectives, all the while following the main theme, which is the notion of life, in order to raise up the key points around which a space of interrogation or dialog is opened, where the problematic of Nishida can be deepened or eventually be developed beyond the range envisaged by the philosopher himself. It is a question of apprehending the phenomenal logic of life which appears to itself, that is to say directly taken in us in the world where we live. With Nishida and Maine de Biran, we examine the interior life experienced immediately in our corporeal being. With Nishida and Merleau-Ponty, we ponder the theme of the perceptive life lived by our own bodies, which is at the same time seeing-visible and acting-passible. Through a confrontation between Nishida and Henry, we enter into a decisive question for this project, that of self-donation of life, by probing the depth as well as the limits of their questioning of which is more real
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Park, Heui-Tae. "Deux modes fondamentaux de la création cinématographique : au-delà de l'émotion (Takeski Kitano) et au-delà du visible (Hong Sangsoo)." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30095.
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Selon le philosophe Gilles Deleuze, l’arrivée du néo-réalisme italien constitue le point de passage entre une forme classique du cinéma (L’image-mouvement) et une forme moderne (L’image-temps) entre le cinéma moderne. Une telle distinction est largement approuvée par les théoriciens, les critiques les historiens du cinéma. Loin de correspondre à unerupture historique, elle renvoie à deux types de cinéma qui possèdent leurs propres caractéristiques. Cette étude envisage dans un premier temps d’aborder, à partir de la typologie deleuzienne, les spécificités de chacun de ces régimes du point de vue de la création. Les films de Takeshi Kitano, cinéaste japonais, et Hong Sangsoo, cinéaste coréen, sont analysés selon cette perspective. Les premiers présentent effectivement une structure basée sur un régime classique, tandis que les seconds se fondent sur les caractéristiques du cinéma dit moderne. Leur analyse permet aussi de suivre le processuscréatif de ces deux réalisateurs reconnus internationalement. Cette étude tente, dans un deuxième temps, de montrer qu’ils s’inscrivent dans une perspective universelle sur le plan de la créationAccording to the studies of French philosopher Gilles Deleuze, the arrival of Italian neorealism is the crossing point between a classic form of film (The movement-image) and a modern one (The time-image). Such a distinction is widely endorsed by theorists, critics and historians of films. Far from corresponding to a historical rupture, it refers to two types of films that have their own characteristics. This study intends initially to approach, from Deleuze's typology, the specifics of each of these regimes in terms of creation. The films of Takeshi Kitano, Japanese filmmaker, and Hong Sangsoo, Korean director, are analyzed under this prospect. The former represent a structure based on a classical scheme, while the latter is based on the characteristics of modern film. The analyst also allows following the creative process of these two internationally renowned filmmakers. This study attempts secondly to illustrate that they have a universal perspective in terms of creation
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Crespín, Perales Montserrat. "Experiencia, Autoconciencia y Voluntad. La conceptualización de la subjetividad en el primer periodo (1911-1923) de la filosofía de Nishida Kitarô." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/123668.
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La investigación se ciñe en el análisis del primer periodo de producción filosófica del filósofo japonés NISHIDA Kitarô (1870-1945) y, con tal motivo, se ciñe al estudio de tres de sus obras: Estudio sobre el Bien (1911), Intuición y Reflexión en la Autoconciencia (1917) y Arte y Moral (1923). Con ello, se trata de responder a la necesidad de presentar una aproximación factible y plausible cuyo objetivo es arrojar luz sobre las consecuencias que resultan del enfoque psicologista y voluntarista que marca la primera etapa de la filosofía de Nishida. Con ello se quiere clarificar hasta qué punto, bajo qué condiciones y cómo, Nishida maneja determinada idea de subjetividad y, específicamente, cómo con ello pone sobre la mesa todo un conjunto de interrogantes comunes a la modernidad que permean en los presupuestos epistemológicos, éticos y en el estudio de la creación y apreciación artísticas.The research presents an analysis of the first period of philosophical production of the Japanese philosopher NISHIDA Kitarô (1870-1945). For that reason, it presents the inquiry around three of his major works: Inquiry into the Good (1911), Intuition and Reflection in Self-consciousness (1917), and Art and Morality (1923). The aim is to respond to the necessity of introduce a feasible and plausible approximation that wants to throw light about the consequences resulting from a psychologist and voluntarist point of view typical of the first period of Nishida's works. It wants to clarify the conditions and how Nishida uses certain idea about subjectivity and, especially, how is conduced his asking about some epistemological, ethical as well as artistic schemes shared and common to philosophical modernity.
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Uehara, Mayuko. "Traduire la philosophie japonaise : formation des concepts et transformation de la langue dans l'oeuvre de Nishida Kitarô : sa traduction en français." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0103.
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La pensée traditionnelle japonaise connut une mutation lors de la première introduction massive de la philosophie occidentale à la fin du XIXe siècle. La traduction des nouveaux concepts s'effectua au moyen de mots sino-japonais composés d'idéogrammes (kango). Ceux-ci constituent les éléments fondamentaux des énoncés philosophiques japonais. Nous étudions quelques concepts-clés de Nishida Kitarô (1870-1945), connu pour l'ampleur de sa pensée éclectique et de son vocabulaire. Comment traduire en français ses expressions en kango issues de la traduction de celles d'Aristote, Kant, Fichte, ou Hegel, dans la mesure où le langage in-forme et trans-forme les concepts? Comment penser la traduisibilité des kango en français? La présente thèse consiste à traiter de la problématique de la langue philosophique de Nishida dans le cadre de la traductologieJapanese traditional thought went through significant and rapid shifts as Western philosophy was introduced in the late nineteenth century. Translations of new concepts were done usin Sino-Japanese terms composed of ideograms (kango). These constitue the fundamental elements of Japanese philosophical discourse, represented in some key concepts of Nishida Kitaro (1870-1945), the fouder of modern Japanese philosophy. How can we problematize the translation of his expressions in Kango into French, which originally derived from the translated terms of Aritote, Kant, Fitchte or Hegel, considering that the language in-form and trans-form the conceptions? How can we conceptualize the tranlability and intranslability of Kango into French? The present thesis analyses the problematics of Nishida's philosophical language in the context of translation studies
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Sekoguchi, Aya. "« Le champ (basho) dans les arts traditionnels japonais » : autour de l'union corps-esprit et de la relation entre artiste et public chez Zeami." Paris, EHESS, 2007. http://www.theses.fr/2007EHES0156.
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Comment le champ où les individus s'insèrent est-il concrétisé dans les arts traditionnels japonais ? A partir de l'analyse de Zeami, ce travail réexamine la question à la lumière des travaux de NISHIDA Kitarô et autres auteurs, en abordant aussi des concepts tels que le kata, le ki, le ma dans les pratiques effectives comme les arts martiaux, Ia cérémonie de thé, etc. . . Le métier et l'esprit chez Zeami correspondent à la double structure du soi : le soi individuel, local, subjectal en tant que localité physique (topos), et le soi social, global, prédicatif qui se situe dans un lieu (chôra). La voie de l'art (geidô) constitue un processus où le second manifeste son importance par rapport au premier, c'est-à-dire que le soi est nié (autonégation) et absorbé dans le lieu (le non-esprit). C'est ce qui permet d'instaurer une interaction entre soi et autrui L'estime pour le champ se cristallise dans une esthétique du dépouillement qui caractérise la culture japonaise : comme le ma mis en oeuvre par la pratique respiratoire qui noue un rapport intime avec le ki. L'accès effectif à un champ plus vaste et plus profond à travers le dynamisme entre l'individuel et le social montre comment embrayer le néant promu par la pensée japonaise à l'être mis en valeur dans la pensée européenne : ce qui permettra de dépasser concrètement et véritablement l'impasse du paradigme occidental moderne sujet-objetHow is the field in which individuals fit embodied in the Japanese traditional arts ? From the analysis of Zeami, this study re-examines the issue in the light of the works of NISHIDA Kitarô and others also addressing concepts such as kata, ki, ma in effective practices such as martial arts, tea ceremony, etc. . . The art and the spirit in Zeami correspond to the dual structure of the self : the individual, local, subjectal self as a physical place (topos), and the social, global, predicate self situated in a place (chôra). The way of Art (geidô) is a process where the second indicates its importance relative to the first, that is to say that the self is denied (self-negation) and absorbed into the place (non-mind). This allows to establish an interaction between self and the other. The regard for the field crystallizes in an aesthetic of bareness that characterizes Japanese culture, as implemented by breathing practices which create an intimate relationship with the ki. Effective access to a wider and deeper field through the dynamics between the individual and the social shows how te connect the nothingness promoted by the Japanese thought with the being praised in European thought : what wil overcome concretely and effectively the impasse in the modem Western paradigm of subject and object
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Ozdemir, Ibrahim Soner. "Grasping The Space Of The Heart/mind: Artistic Creation And Natural Beauty In The Later Philosophy Of Kitar." Phd thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613515/index.pdf.
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In this dissertation, focusing on the problem of &ldquoaesthetic form&rdquo
and its relation to the distinction between natural and artistic beauty, it is argued that the Japanese philosopher Kitar
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Kahunde, Samuel. "Our royal music does not fade : an exploration of the revival and significance of the royal music and dance of Bunyoro-Kitara, Uganda." Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.574557.
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After the kingdoms of Uganda were abolished in 1967, the royal music and dance of Bunyoro-Kitara kingdom was not performed, and remained obscure both locally and internationally, because it had been little documented. However, when the kingdoms were allowed to operate again in 1993, a process of revival started. This study has been undertaken with the aim of understanding the royal music and dance of Bunyoro-Kitara with regard to its revival, characteristics, and significance to the Banyoro people. The study has been guided by the following research questions: What are the characteristics of the royal music and dance of Bunyoro-Kitara? What does the royal music and dance of Bunyoro-Kitara kingdom express with regard to social structure and culture? What is the role of the royal music and dance of Bunyoro-Kitara? How does the revival of the royal music and dance of Bunyoro-Kitara compare with other revivals? This study was carried out in 2008 and 2009 using fieldwork methods of inquiry, such as participant-observation, interviews, personal communication, and questionnaires. The following findings have been generated: The royal music and dance of Bunyoro-Kitara consists of different genres which include the amakondere, the Empango, the entajemerwa, the entimbo, the kaijwiire/timbeeta, the kyarubanga, the enseegu, and the enaanga; it is different from the non-royal music and dance with regard to form, design, organisation, styles, names, venues, and accompaniment; it expresses the history, social structure, culture, and perspectives about authenticity of Bunyoro-Kitara kingdom; it plays communicative, symbolic, and aesthetic roles; and its revival differs from many other studied revivals, and it offers counter-examples to current revival theories proposed by other scholars. Overall, this study provides new knowledge about the royal music and dance of Bunyoro-Kitara, as well as furthering scholarly understandings of the relationships between music and social structure, of authenticity in music, and of revivals.
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Agea, Jacob Godfrey. "Use and potential of wild and semi-wild food plants in alleviating household proverty and food insecurity : A case study of Bunyoro-Kitara Kingdom, Uganda." Thesis, Bangor University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.528317.
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Imono, Mika. "Sur le mouvement volontaire en tant que réflexion ou création : essai sur la philosophie de Maine de Biran par l'entremise de Félix Ravaisson et de Kitarô Nishida." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2013. http://tel.archives-ouvertes.fr/tel-00878832.
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Le propos de cette thèse est de réfléchir sur la notion philosophique de Maine de Biran : l' "aperception immédiate". L'aperception immédiate, c'est le moment où je m'aperçois de moi, où je saisis immédiatement l'évidence de mon existence. Biran a relié ce moment au mouvement volontaire, le mouvement dont le but est le mouvement lui-même. Quelle est la signification philosophique de cette corrélation ? Dans cette thèse, à l'entremise de Félix Ravaisson et de Kitarô Nishida, nous trouverons que le mouvement volontaire chez Biran est d'abord la réflexion, qui nous fait reconnaître nous-même, et puis il est ultimement considéré comme création, l'acte de s'engager dans le monde réel et historique.
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Imono, Mika. "Sur le mouvement volontaire en tant que réflexion ou création : essai sur la philosophie de Maine de Biran par l’entremise de Félix Ravaisson et de Kitarô Nishida." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20019/document.
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Le propos de cette thèse est de réfléchir sur la notion philosophique de Maine de Biran : l’ "aperception immédiate". L’aperception immédiate, c’est le moment où je m’aperçois de moi, où je saisis immédiatement l’évidence de mon existence. Biran a relié ce moment au mouvement volontaire, le mouvement dont le but est le mouvement lui-même. Quelle est la signification philosophique de cette corrélation ? Dans cette thèse, à l’entremise de Félix Ravaisson et de Kitarô Nishida, nous trouverons que le mouvement volontaire chez Biran est d’abord la réflexion, qui nous fait reconnaître nous-même, et puis il est ultimement considéré comme création, l’acte de s’engager dans le monde réel et historiqueThe aim of this thesis is to prove a philosophical notion of Maine de Biran: the “immediate apperception (aperception immédiate)”. The immediate apperception is the moment when I know myself, or when I grab immediately the evidence of my existence. Biran links this moment to voluntary movement, a movement which has its purpose in itself. What is a philosophical signification of this connection? In this thesis, with the study of Félix Ravaisson and of Kitaro Nishida, we will find that the voluntary movement in Biran is, at first, a reflection (réflexion), which lets us know ourselves. We will also find that it should be considered as a creation, an act of taking part in the real and historical world
本論文の目的は、メーヌ・ド・ビランにおける概念「直接的覚知 (aperception immédiate)」について考察することにある。直接的覚知とは、私が私に気付く瞬間、あるいは私が直接的に私の存在を確信する瞬間である。ビランはこの瞬間を、意志的運動に見出した。意志的運動とは運動それ自体が目的である運動である。この連結は何を意味しているのか。本論文は、フェリックス・ラヴェッソン、西田幾多郎を経由して、この問いに答える。すなわち、意志的運動とはまず、自分自身を知る反省として考えられる。次いで、それは究極的には創造として考えられるべきであることを明らかにする。創造とは、現実的歴史的世界へ参与する行為である。
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Henares, Joseph Alambra. "Reluctant Complicity in a Fascist Age: Nishida Kitarō’s The Problem of Japanese Culture and Iwanami Culture, 1938-1941." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1556903910811186.
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Mastrokalou, Effrosyni Efrosini. "Exploring 'optimal' states of consciousness in Michael Chekhov's psychological gesture : towards a new phenomenological paradigm." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/29894.
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This thesis examines key concepts from philosophers Nishida Kitaro, Maurice Merleau-Ponty and Fredriche Nietzsche and applies them to elements of Michael Chekhov’s practice of acting. The three philosophers, in different ways, suggest an ‘optimal’ state, beyond a dualistic separation of the fictive from the real and the visible from the invisible, that challenges seemingly unbridgeable dualisms between inner and outer, subject and object, being and becoming and experiencer and experienced. The purpose of this thesis is to analyze and understand these selected ‘optimal’ modes of consciousness in performance and, therefore, open up new ways of thinking about Michael Chekhov’s acting processes; in particular the ‘Psychological Gesture’. The thesis asks the following questions: 1. How can the application of selected philosophical paradigms to the Psychological Gesture through theory and practice further our understanding of Michael Chekhov’s work? 2. How do selected aspects of the fields of phenomenology, post-phenomenology, cognitive sciences, consciousness studies and philosophy of mind, aid in developing an articulation and understanding of an ‘optimal’ state of consciousness as a necessary aspect of the actor’s performance in Michael Chekhov’s work and theatre practice? 3. How can this project develop the way we are able to talk about Michael Chekhov’s work and wider acting processes?
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Sato, Ryo. "Penser le néant, vivre libre : sur quelques thèses de Maître Eckhart et leur résonance dans la philosophie de l'École de Kyoto." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAK006/document.
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Keiji Nishitani, philosophe de l’École de Kyoto, a développé sa philosophie de la religion en étudiant les sermons allemands de Maître Eckhart à la lumière de la notion du « néant absolu » de Kitarô Nishida. Nishitani applique cette dernière à la « Déité » (Gotheit) exposée dans la prédication d’Eckhart, où il découvre l’idée d’un éveil à la subjectivité originaire dans l’âme humaine. Cet éveil ouvre à l’âme une liberté « en Dieu sans Dieu », accessible à la vraie intelligence religieuse, détachée de tout dualisme. Dans cette perspective, comment pouvons-nous intégrer la métaphysique que Maître Eckhart expose dans ses œuvres latines ? Dans le Commentaire de l’Évangile selon Jean, Eckhart déploie sa vision sur Dieu, Être-Un, « Principe sans principe », et il enseigne à « vivre » l’unité entre « être » et « connaître », en laquelle consiste la béatitude. Notre réflexion s’articule autour de l’idée de « vivre la vie ». Nous essayons d’unifier le détachement dans le « néant de la Déité » selon Nishitani et l’« Être illimité » selon le commentaire biblique, de manière à représenter la pensée eckhartienne comme une synergie de la spéculation métaphysique et de la pratique existentielle pour expérimenter le Transcendant dans notre vie immanenteKeiji Nishitani, philosopher of the Kyoto School, developed his philosophy of religion, studying the German sermons of Meister Eckhart, in the light of the notion of “absolute nothingness” of Kitarô Nishida. He applies that notion to the “Godhead” (Gotheit) outlined in Eckhart’s preaching, where he discovers the idea of awakening to the elemental subjectivity in human soul. This awakening opens up to the soul a liberty “in Godwithout God”, accessible to the religious intelligence detached from all dualism. In this perspective, how can we integrate the metaphysics exposed by Eckhart in his Latin works ? In the Commentary on the Gospel of John, Eckhart explains his vision of God, Being-One, “Principle without principle”, and he teaches to “live” the unity between “being” and “knowing”, of which the beatitude consists. Our study revolves around the thinking on “live the life”. We try to unify the detachment in the “nothingness of the Godhead” according to Nishitani and the “unlimited Being” according to the biblical commentary, so as to show the Eckhartian thought as a synergy between metaphysic speculation and existential practice to experience the Transcendent in our immanent life
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Chen, Mei-Yin, and 陳美吟. "On Nishida Kitaro's "Place"." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/c99j6q.
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碩士華梵大學
哲學系碩士班
102
Abstract: Nishida Kitaro absorbs western philosophy and transfers it to build his own philosophy by combining East thought with west thought. His purpose is to show the “ultimate reality”, there are many papers about the “ultimate reality” in Nishida’s articles. The purpose of my study is analyzing by the process: 1.“Pure Experience”, 2 “Self-consciousness” and 3 “Place”. First, I will distinguish the concept of “Pure experience” from “self-consciousness”. I will begin my discussion by considering the early phase of Nishida’s philosophy; it will help me to figure Nishida’s philosophy out. But my point is the philosophy of “Place”. Nishida leaves “Pure Experience” through “Self-consciousness”, and then turns to philosophy of “Place” finally. He changes the insufficient in his early articles and develops his philosophy of “Place” from “Logic of Place”. “Logic of Place” based on his critique of Aristotle’s “Formal logic” for it is an “subjective logics”, but “Logic of Place” is a “predicative logics” and logics of ontology.. There are three kinds of Place: Place of Sein, Place of Nichts, and Place of absolutes Nichts. Place philosophy is a new phase of Nishida. The logic of place is begun for the“ Place” . So I focus on the transfer from three kinds of Place in this paper to show how Nishida changed his thought and its meaning in the “Place”
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Chiu, Yi-Ping, and 邱一平. "On the Concept of Pure Experience: A Study of Kitaro Nishida's Zen No Kenkyu." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/55375730921385932662.
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碩士國立清華大學
哲學研究所
96
Abstract The aim of this thesis is to clarify the concept of pure experience in Kitarō Nishida 's Zen No Kenkyu. I first point out that Nishida’s main concern is of ‘the study of life’; hence the concept of pure experience, in essence, is not an abstract philosophical concept, but rather a concept illuminating the nature of ordinary life. It would fail to provide a complete elaboration of the very concept if we focus merely upon its ontological aspects, since studies from an ethical point of view, as I see it, is also essential. According to Nishida, pure experience is the ultimate reality of the universe, and practicing this ultimate reality （which is equivalent to practicing our （inner） true selves） is the fundamental ethical goodness. Moreover, it is acting in accord with this fundamental goodness which is the pursuit of religion. Thus from the viewpoint of pure experience, ontology, ethics, and religion are not mutually dependent, but rather interwoven. In chapter one, I study the ontology proposed by Nishida. Nishida first criticizes against Cartesian realism （dualism）, arguing for, on the other hand, his own version of mono-realism. For him, the ultimate reality is pure experience which is the genuinely independent activities （独立自全の活動）. I will elaborate Nishida’s idea of the rules of reality—the establishment of （ultimate） reality is based on ‘paradoxes’ which are dialectical in character. Moreover, Nishida does not differentiate fact from value. Hence the study of reality necessarily leads to the study of ethical theories. I consider, in chapter two, Nishida’s criticisms against various theories of value, and his own theory, i.e. a contention he calls energetism. I provide some reasons for the claim that Nishida’s energetism is in effect a kind of autonomous ethical theory. Chapter three concentrates on Nishida’s contentions on the philosophy of religion. According to Nishida, religion relies on the relationship between god and man, and he explains both the relationship between god and man and the relationship between god and the world by dint of the self-differentiating of pure experience, the ultimate reality. In chapter four, I summarize the main thesis of Zen No Kenkyu. I point out that although Nishida seldom mentions the oriental influences of his thought in his writing, I think it is reasonable to see Zen No Kenkyu as characteristically oriental.
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Boucher, Mélany. "Penser l’identité et le rapport à l’Autre au Québec, perspectives selon la pensée de Kitaro Nishida." Thesis, 2019. http://hdl.handle.net/1866/24217.
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De la Révolution tranquille jusqu’aux événements de la Commission Bouchard-Taylor, la question des relations interculturelles et interreligieuses au Québec a occupé une large place dans les débats publics. Selon de nombreux auteurs, des rapports particuliers se seraient établis au cours de l’histoire entre des « représentations identitaires » et des « événements » spécifiques à une culture canadienne-française. Cette particularité relationnelle, qui se caractérise sous forme de « liens imaginaires » avec certains « événements historiques », aurait paradoxalement la propriété de provoquer une coupure avec le passé. Cette dynamique des rapports que nous nous représentons au Québec et que nous situons dans une perspective d’interconnexion entre ce qui représente le « nous » et ce qui représente l’Autre renferme une voie intéressante de réflexion sur une autre façon de penser le rapport à l’Autre au Québec.
Aborder cette question en s’inspirant de la pensée de Kitaro Nishida, philosophe japonais du début du XXe siècle dont les œuvres ont été traduites par une auteure, Jacynthe Tremblay, offre une perspective inédite sur la question de l’identité et de sa relation avec le monde qui l’entoure. Nishida a parlé du rapport entre le « je » et le « tu », à partir duquel il est parvenu à montrer en quoi le « je » de la subjectivité moderne (la conscience du « je » qu’il a de lui- même) pose problème pour cette altérité. Il propose de déconstruire cette conscience de soi pour pouvoir envisager une nouvelle conscience de « soi » et de l’« Autre », qui culminera avec la notion de « véritable soi » et ultimement avec un rapport à l’« Autre-absolu » ou le « monde historique». Ces notions intrinsèques sont considérées par Nishida comme fondamentales pour l’existence humaine et essentielles à une harmonie des différences.From the Quiet Revolution to the all-encompassing events of the Bouchard-Taylor Commission, the issue of intercultural and interfaith relations in Quebec still occupies a large part of public debate. Many authors have shown that particular relationships would have settled in the course of history between “representations of identity” and “events” specific to a French-Canadian culture. This relational peculiarity, which is characterized in the form of “imaginary links” with certain “historical events”, would paradoxically have the property of causing a break with its past. This dynamic of relationships that we represent in Quebec and that we situate in a perspective of interconnection between what represents the “we” and what represents the “Other” is an interesting way of thinking about it in another way. To think about the relationship to the “Other” in Quebec. Addressing this question, inspired by the thought of Kitaro Nishida, a Japanese philosopher of the early 20th century, whose works have been translated by an author, Jacynthe Tremblay, offers an unprecedented perspective on the question of identity and its relation with the world around him. Nishida will speak about the relationship between the “I” and the “you” from which he will be able to show how the “I” of modern subjectivity (the consciousness of “I” that he has of himself) is a problem to this otherness. He proposes to deconstruct this self-consciousness to be able to envisage a new consciousness of “self” and of the “Other” which will culminate in the notion of “true self” and ultimately to a relation to the “other-absolute” or the “Historical world”. Intrinsic notions considered according to Nishida, fundamental to human existence and essential for a harmony of differences.
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Hsiu-Mei, Li, and 李秀美. "The study of exhibition marketing and Audiences Behavior preference– a case of Kitaro’s monster paradise in Taichung." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/64371028984591883491.
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碩士逢甲大學
經營管理碩士在職專班
101
Over the past twenty years, visiting special exhibitions has played an important role for Taiwanese people in engaging in cultural activities. In addition to museums and galleries, cultural creative places have become some venues in recent years. What does it take to make a good exhibition and how to attract visitors are the keys to success. The participant of the study is Kitaro’s monster paradise taking place in Taichung Cultural &; Creative Industries Park held by the United Daily News in 2012. Based on Sheth’s the theory of consumers’ value, the study conducted 631 surveys, 30 interviews and 37 blog articles. It is through the participated observation and integral marketing distribution that we hope to offer some advice on the future planning for the organizers of special exhibitions. The study suggests that the visitors are most satisfied with “service personnel’s attitude and clear signs. The visitors with stronger sense of value states that “ I find the topic very attractive and interesting.” The higher correlations are: entertainment motive and emotional value. Emotional value correlates best with satisfaction while loyalty correlates higher with emotional value. The above analysis offers suggestions on integral marketing strategies as well as the quality of exhibitions for future exhibitions. Integral marketing strategies include specific definition of an exhibition, focusing on certain visitors, proportions of advertising, creating value and touching visitors’ hearts. The suggestions on the items of an exhibition include exhibition planning and holding an exhibition by visitors’ attribution. key words: integral marketing distribution, satisfaction, loyalty, visiting motive, special exhibitions
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DeRoy, Bryant. "Biocultural approaches to environmental management and monitoring: theory and practice from the cultural rainforests of Kitasoo/Xai’xais Territory." Thesis, 2019. http://hdl.handle.net/1828/11204.
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Biocultural approaches to Environmental Management (EM) and monitoring are an emerging strategy in sustainability planning. Unlike functional ecological approaches to EM, which exclude humans from ecological systems, biocultural EM approaches incorporate humans, communities and their values as integral part of ecological systems, and are grounded in collaborative processes that develop locally relevant management objectives and monitoring practices. Biocultural indicators are a key aspect of biocultural EM, providing links between worldviews, knowledge systems, agencies and institutions at various scales to guide and streamline implementation of management objectives. Although many Indigenous Peoples have been continually practicing biocultural approaches to EM for thousands of years, challenges exist in contemporary EM scenarios where multiple worldviews, political boundaries and knowledge systems collide. Some of the challenges or gaps in contemporary biocultural approaches are based in theory, and others are in practice. In Chapter One I highlight one of these gaps – the lack of guiding criteria to develop biocultural indicators in contemporary biocultural EM and monitoring. To address this gap, I propose a novel suite of six criteria (culturally salient, supportive of place-based relationships, inclusive, sensitive to impacts, perceptible, linked to human well-being) drawn from a case study in Kitasoo/Xai’xais Territory in the area now referred to as the North and Central Coast of British Columbia, Canada. In Chapter Two, I highlight a challenge in practice—the development of spatial models that incorporate a community-led approach. I show how this community-engaged approach benefitted the development and application of a landscape scale suitability model for culturally modified trees, a priority biocultural indicator. In conclusion, this theoretical and practical work identifies opportunities to amend existing Provincial and Federal legislation in order to support biocultural approaches to EM in Canada and shows how biocultural approaches may be applied in other social-ecological systems near and abroad.Graduate
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Kawamura, Satofumi. "Nishida Kitar{u014D}'s political philosophy : war-time Japan and the empire of governmentality." Phd thesis, 2012. http://hdl.handle.net/1885/150938.
Full textAbstract:
The main concern of this dissertation is the ambivalence, or duality, of Nishida Kitaro's political (and cultural) philosophy. Nishida's political stance during the Asia Pacific War from the 1930s to 1940s has been highly controversial, because his former students argued the justice of the war waged by Japan in several symposiums, such as "Overcoming Modernity" (Kindai no ch{u014D}koku), and Nishida himself also wrote the essay "The Principle of the World New Order" (Sekai shin-chitsujo no genri) as a draft for the "Joint Declaration of the Greater East Asia Conference" (Dai-t{u014D}a ky{u014D}d{u014D} sengen) at the request of the Japanese Army. Hitherto, this controversy has been dominated by the dichotomy between defenders and critics, and the point at stake in it is whether Nishida was supportive or not of war-time politics and ideology. The project of this dissertation is to shed new light beyond this existing controversy. It is true that Nishida's politico-cultural philosophy can be understood as a counter discourse against the political trend promoted by the militarists and ideologues, because Nishida tried to advocate a universal and immanent principle in terms of which individual freedom must be respected. However, at the same time, Nishida's critique could not be a fundamental criticism against the ideology of the political trend, because his logic could vindicate the exercise of power which led to the reinforcement of the National Polity (Kokutai) and the Greater East Asia Co-prosperity Sphere (Dai-t{u014D}a ky{u014D}ei-ken), which were core concepts of the ideology. To evince this proposition, this dissertation refers to Michel Foucault's analysis of governmentality. This is because Foucauldian governmentality analysis can provide the angle from which the exercise of power underpinned by the universal immanent principle can be elucidated. In other words, Foucauldian govemmentality analysis makes it possible to understand how the principle to respect individual freedom can be the principle to regulate individual action. Through the enhancement of individual freedom, the universal principle immanent to society can form the subject who is directed to the reinforcement of government and dominance of a political regime. Therefore, by referring to Foucauldian govemmentality analysis, we can understood that Nishida's politico-cultural philosophy based on the immanent principle also can work as the principle to form the subject (shutai) directed to the National Polity and the Co{u00AD} prosperity Sphere. Finally, this dissertation will elucidate that Nishida's politico-cultural philosophy vindicated the Japanese Empire as a postimperial "Empire" in Michael Hardt and Antonio Negri's sense, which is underpinned by the principle which respects "freedom" "rationality" and "universality." In addition to research on Nishida's political philosophy, this dissertation looks at his disciples' war-time discourse: Odaka Tomoo, Miki Kiyoshi, and the participants of the symposium of "The World Historical Standpoint and Japan" (Sekai-shi-teki tachiba to nippon), such as K{u014D}saka Masaaki, Nishitani Keiji, K{u014D}yama Iwao, and Suzuki Shigetaka, who were the so-called Kyoto School (Kyoto-gakuha) philosophers. Through the examination of their discourse, this dissertation elucidates the similarity and difference between Nishida and them, and thereby locates their ideas in a wider context.
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Compton, Brian D. "Upper North Wakashan and Southern Tsimshian ethnobotany: the knowledge and usage of plants and fungi among the Oweekeno, Hanaksiala (Kitlope and Kemano), Haisla (Kitamaat) and Kitasoo Peoples of the central and north coasts of British Columbia." Thesis, 1993. http://hdl.handle.net/2429/1918.
Full textAbstract:
This thesis deals with botanical knowledge, use and categorization among three Wakashan cultures (Oweekeno, Hanaksiala and Haisla) and a Southern Tsimshian group (Kitasoo) of the Central Coast and North Coast regions of British Columbia.
The research has involved the first comprehensive attempt at the documentation of names and cultural roles for fungi and plants among these cultures. Approximately 90 taxa of fungi and plants are known to have had indigenous names and cultural roles in Kitasoo culture, approximately 100 taxa in Oweekeno culture and approximately 180 taxa in the Haisla and Hanaksiala cultures. Detailed accounts of the names and cultural roles of these species are presented.
The basic features of Upper North Wakashan and Southern Tsimshian folk botanical nomenclature and categorization, as revealed from research among these representative groups, correspond in general with findings resulting from previous studies in the Pacific Northwest and elsewhere. A general 'plant' term is present in Upper North Wakashan, but lacking from Southern Tsimshian. Life-form categories are generally similar among all the study groups as are several intermediate botanical categories. A somewhat unusual "life-form complex" consisting of "berry bushes" and "berry bushes or any bush" is present in Southern Tsimshian, while a unique "fern" life-form is proposed for Oowekyala, Hanaksiala and Haisla. In both Upper North Wakashan and Southern Tsimshian some generic level taxa are seen to represent prototypes of more inclusive life-form categories and intermediate categories. Instances of folk specific categories corresponding to various colour forms of salmonberries (Rubus spectabilis) occur among all the study groups.
In general, a number of nomenclatural and categorization features are shared by all the study groups despite fundamental and extensive differences between the Wakashan and Tsimshian languages. These similarities have probably arisen from extensive and lengthy cultural contact and interchange between the cultural groups. A map of the study area is provided as are several figures, tables and appendices that contain information pertaining to botanical knowledge, use and categorization among the study groups.