Dissertations / Theses on the topic 'Matsumoto'

Tegul funkcija φ(s) s=σ+it, yra apibrėžta srityje σ>α+β+1 polinomine Oilerio sandauga. Magistro darbe įrodyta diskreti ribinė teorema analizinių funkcijų erdvėje H(D), funkcijai φ(s). Tarkime, kad h>0 toks fiksuotas skaičius, kad kuriems nors sveikiems k≠0 skaičius exp{2πk/h} yra racionalus, o B(H(D)) yra erdvės H(D) Borelio aibių klasė. Darbe įrodyta, kad tikimybinis matas silpnai konverguoja į vieno H(D) reikšmio atsitiktinio elemento skirstinį.
For σ>α+β+1, define the function φ(s), s=σ+it, by a polynomial Euler product. In our work, a discrete limit theorem in the space H(D) of analytic functions for the function φ(s) is proved. Suppose that h>0 is a fixed number such that for some integers k≠0 the number exp{2πk/h} is racional, and denote by B(H(D)) the class of Borel sets of the space H(D). Then we prove that the probability measure converges weakly to the distribution of one H(D)- valued random element.

Neste trabalho utilizamos técnicas de controle e sincronização de sistemas caóticos, visando o uso delas para comunicação com caos. Aplicamos tais técnicas no circuito elétrico de Matsumoto-Chua. Inicialmente, mostramos a sensibilidade dos atratores deste circuito quando variamos os seus parâmetros. Determinamos as suas bacias de atração. Através da análise biespectral, verificamos que o acoplamento quadrático é alto para o atrator tipo Rössler, e quase nulo para o atrator Espiral-Dupla. Para a caracterização global do circuito, apresentamos diagramas, no espaço de parâmetros, com os valores dos expoentes de Lyapunov ou autocorrelação. A seguir estudamos esse circuito com uma perturbação senoidal. Com isto, identificamos novos cenários para a transição para o caos a partir da quase periodicidade. Duas destas transições foram identificados pela primeira vez nesse circuito. Aplicamos ao circuito cinco métodos de controle de caos: supressão de caos por sincronização de freqüências, controle de órbitas periódicas instáveis pelos métodos OGY e de realitnentação , estabilização no ponto ele equilíbrio (método de Hwang), migração e arraste (método OPCL). Finalmente, consideramos dois circuitos de Matsumo-Chua acoplados e determinamos as suas bacias de sincronização. Mostramos que a sincronização dos circuitos acoplados pode não depender das condições iniciais (fronteira das bacias contínua) ou ser extremamente sensível às condições iniciais (fronteira elas bacias elo tipo crivada ou intercrivada).
In this work we use control and synchronization of chaos techniques aiming their implementation in communicating with chaos. These techniques are applied into the electric circuit of Matsumoto-Chua. Initialty, we show the sensibility of the attractors under parameter variations. We determine the attractor basin of attractions. Through the bi-spectral analysis, we verify that the quadratic coupling is high for the Rössler-type attractor, and almost null for the Double-Scroll attractor. For the global charactcrization of this system, we show parameter diagrams of the Lyapunov exponents or auto-correlation. We also study this circuit under a sinusoidal perturbation. In this configuration, we identify new scenario for the transition to chaos through quasi-periodicity. Two of these transitions are identified by us for the first time in this perturbed circuit. We apply five control of chaos techniques: chaos suppression by frequency synchronization, control of unstable periodic orbits by the OGY and feed-back methods, stabilization of the equilibrium points (Hwang method), migration and entrainment (OPCL method). Finally, we consider two acoupled Matsumoto-Chua\'s circuits and determine their synchronization basins. We show that the synchronization in these coupled circuits may not depend on the initial conditions (continuous synchronization basin boundary) or may depend extremely on the initial conditions (riddled or intermingled synchronization basin boundaries).

Il furusato è un concetto chiave per la comprensione di molti fenomeni legati al panorama del Giappone rurale contemporaneo. Traducibile come “città natale”, “paese natio”, o “villaggio tradizionale”, comincia ad assumere particolare rilevanza a partire dal periodo Meiji (1868-1912), contemporaneamente all’affacciarsi del Giappone nel panorama internazionale. Il termine evocava sia una dimensione spaziale, identificata con le periferie rurali soggette ad un progressivo spopolamento, sia una dimensione emotiva, legata alla nostalgia e al senso di perdita per il distacco da quei luoghi. Il furusato viene poi connotato da una dimensione temporale che lo relega progressivamente ad un passato mitico, consacrandolo a cuore delle tradizioni autentiche giapponesi. Mito individuale e nazionale, nel corso del tempo, e soprattutto dal secondo dopoguerra, il furusato è venuto a costituirsi in qualità di immaginario e posta in gioco di lotte non solo politico-identitarie, ma anche economiche, incentivando ad esempio progetti di pianificazione urbana e campagne pubblicitarie volte ad incoraggiare il turismo domestico e la riscoperta del Giappone autentico. Essendo tutt’ora un immaginario molto fertile, la presente ricerca si propone di illustrare come sia mutato nel tempo e in che termini sia possibile considerarlo attualmente. La lente utilizzata è quella dell’osservazione sul campo di una comunità rurale nella prefettura di Nagano. Associazioni di comuni cittadini, aziende agroalimentari e cooperative agricole sono impegnate nell’opera di rivitalizzazione territoriale attraverso la costruzione e la gestione di una comunità competitiva e coesa, che faccia fronte ai problemi di invecchiamento della popolazione e al progressivo spopolamento. Nella tensione tra il conservarsi come comunità chiusa e originale, e l’aprirsi alla competitività regionale ed ai possibili afflussi di capitale umano straniero, nelle municipalità di Matsumoto e Azumino, il furusato si slega in parte dalla dimensione nostalgica, per diventare paradigma di costruzione e impegno attivo nel presente, con tutte le caratteristiche di una vera e propria impresa.

L’umorismo è una caratteristica peculiare dell’essere umano e può essere trovato all’interno di ogni forma culturale. Ogni società attinge dalla propria cultura determinati aspetti che possono essere utilizzati all’interno dell’umorismo, creando forme sempre nuove e diverse per far ridere gli altri. Per questo motivo lo humor generato in un determinato contesto socio-culturale può non essere comprensibile altrove in egual misura. In questo contesto di diversità culturale dello humor, come si inserisce un format comico, nato in Giappone, ma che sta conquistando negli ultimi anni anche paesi europei? Questo elaborato si ripropone di comparare il format LOL/Matsumoto Hitoshi’s Documental con lo scopo di individuare le caratteristiche culturali e sociali che sottintendono la creazione dell’umorismo tra l’Italia e il Giappone. La scelta del format è dovuta all’omogeneità delle regole del gioco. Avendo un ambiente di analisi che presenta le medesime caratteristiche si cercherà di delineare le caratteristiche dei comici, delle loro persone, dei loro personaggi e delle relazioni che stringono tra di loro in modo da delineare quali aspetti possiede lo humor creato nel format, in che misura vengono utilizzati e se alcuni di questi si presentano in entrambe le versioni del format o in che modo differiscono. L’obiettivo dell’elaborato sarà quello di comprendere maggiormente gli aspetti umoristici tra i due paesi e sviluppare gli strumenti per una migliore cooperazione culturale attraverso la comprensione delle caratteristiche culturali tra Italia e Giappone. La prima parte si concentrerà sull’introduzione allo humor da un punto di vista filosofico e psicologico. La seconda parte comprenderà gli strumenti per l’analisi semantica e pragmatica dell’umorismo. La terza parte sarà riservata all’analisi del format nelle versioni italiana e giapponese, dove verranno utilizzati gli strumenti descritti nei primi due capitoli per comprendere quali aspetti culturali vengano utilizzati dai comici attraverso le loro persone/personaggi, in che modo si approcciano tra di loro (e col pubblico) i vari comici e a che tipo di comicità puntino.

La tesi affronta come tema centrale la riscrittura della fiaba di Cenerentola in Giappone, prendendo in esame tre versioni di tre autrici diverse, quali Sano Yōko, Matsumoto Yūko, Kiryū Misao, in un arco temporale che va dal 1985 al 1998. La prima parte dell’elaborato si occuperà di fornire un’idea generale della condizione della donna, oltre che di spiegare il fenomeno del Grimm Boom in cui le tre autrici si inseriscono, grazie allo studio di Murai Mayako. In seguito, verranno prese in esame le tre riscritture nello specifico, illustrando gli elementi che assurgono a metafora della condizione sociale della donna degli anni ’80-’90. Si analizzerà la Cenerentola arrampicatrice sociale di Sano, che ha saputo sfruttare la sua bellezza e l’idea della femminilità a suo vantaggio. In seguito quella di Matsumoto che descrive una donna che cerca di riappropriarsi del proprio corpo considerato spesso un oggetto o una proprietà in una società patriarcale; infine Kiryū che pone l’accento sulla protagonista da un punto di vista introspettivo, oltre a mostrare l’importanza dei legami tra donne, in particolare quello tra madre e figlia.

Cette thèse contient deux parties différentes. Dans la première partie, nous nous sommes intéressés aux familles exponentielles naturelles cubiques dont la fonction variance est un polynôme de degré inférieur ou égal à 3. Nous donnons trois caractérisations de ces familles en se basant sur une approche Bayesienne. L’une de ces caractérisations repose sur le fait que la fonction cumulante vérifie une équation différentielle. La deuxième partie de notre travail est consacrée aux conséquences de la propriété d’indépendance de type « Matsumoto-Yor » qui a été développée par Koudou et Vallois. Cette propriété fait intervenir la famille de lois de Kummer de type 2 et les lois Beta généralisées. En se basant sur la méthode de conditionnement et sur la méthode de rejet, nous donnons des réalisations presque sûre de ces distributions de probabilités. D’autre part, nous caractérisons la famille de lois de Kummer de type 2 (resp. les lois Beta généralisées) par une équation algébrique impliquant des lois gamma (resp. les lois Beta)
This thesis has two different parts. In the first part we are interested in the real cubic natural exponential families such that their variance function is a polynomial of degree less than or equal to 3. We give three characterizations of such families using a Bayesian approach. One of these characterizations is based on a differential equation verified by the cumulant function. In a second part we study in depth the independence property of the type “Matsumoto-Yor” that was developed by Koudou and Vallois. This property involves the Kummer distribution of type 2 and the generalized beta ones. Using the conditioning and the rejection method, we give almost sure realization of these distributions. We characterize the family of Kummer distribution of type 2 with an algebraic equation involving the gamma ones. We proceed similarly with the generalized beta distributions

Partiendo de los conceptos de figura y fondo, procedentes del campo de la teoría del arte, el trabajo investiga en primera instancia su posible aplicación al ámbito de lo cinematográfico, vinculándolos al discurso más amplio sobre la representación geométrica del espacio (perspectiva) entendida como forma simbólica de aprehensión de la realidad. Para ello, el trabajo interroga un género popular en el que se declinan de manera especialmente fructífera los temas de la figura y fondo como es el cine de monstruos gigantes, cuyo primer momento de esplendor gira entorno a los años 50 y 60 del siglo XX, era de apogeo y crisis de los modelos tradicionales de representación. En la segunda parte del trabajo, se plantean algunos interrogantes hermenéuticos alrededor del resurgimiento de la figura del monstruo gigante en la cultura audiovisual contemporánea, su función estética en el contexto digital y su conexión con las nuevas formas de representar la realidad en el género fantástico, así como la paralela –y aparentemente paradójica– conversión del gigante en signo íntimo para la conciencia del espectador.
Taking as a starting point the Figure/Background division as established in art theory, this work tries first to reframe it within the cinematographic studies, and to link it to wider aspects of geometric rendering of space (the Perspective System) as a symbolic form of apprehending reality. In order to do so, this work addresses a popular film genre where the Figure/Background issues are central: the giant monster movies that had their Golden Age in the 50’s and 60’, a time when traditional models of representation came to a crisis with the arrival of modern cinema. In the second part of this work, hermeneutic analysis is put into work to address the comeback of the giant monster in contemporary audiovisual culture, its aesthetic function in our digital era and its connection with new forms of representing reality in science fiction cinema, as well as the apparently paradoxical conversion of the giant monster in a sort of intimate sign for the viewer.

碩士
國立高雄第一科技大學
應用日語所
95
Before the Second World War, Japanese crime fiction was considered as a genre of fiction that was popular, exaggerated and playful. Seicho Matsumoto, however, was an unconventional writer with distinct techniques which made his crime fiction more realistic and refined than others. Therefore, “Seicho’s Revolution” is well known in Japanese literature. The term “revolution” indicates that Seicho Matsumoto thoroughly reformed Japanese crime fiction. Since the publication of his first crime fiction Points and Lines in 1958, Seicho Matsumoto has created a new trend in Japanese crime fiction, “crime fiction with a social consciousness”. The study begins with a literature review of the history of Japanese crime fiction as well as the emergence and features of crime fiction exhibiting a social consciousness. Next, two masterpieces of Seicho Matsumoto’s early works, Points and Lines and Vessel of Sand, are examined, to discover his unique writing techniques, such as putting the emphasis on the motives behind the crimes and also bringing social issues into the stories.

碩士
國立中興大學
台灣文學與跨國文化研究所
100
In 1841, Edgar Allan Poe presented a story entitled "The Murder in the Rue Morgue," which is a milestone of mystery fiction. This genre has received a great attention from writers and readers in the whole world. This influence occurred in both America and Europe, but also Asia. Especially in Japan, it puts the popularity of mystery fiction to the pinnacle. Actually, this influence also tends to Taiwan. The translated novels of Euro-America and Japan, as well as Taiwan writers’ self-created novels that provide the readers in Taiwan a deep training of logical reasoning and enjoyment of imagination. Due to the geographical position, the historical overlap and the inter-affected culture inheritance, the creative style of Taiwan mystery fiction is deeply affected by Japan. On the other hand, Taiwanese society phenomenon under vigorous growth of economy in the seventies and eighties is also similar to Japanese society and economic environment after World War II, for example, money games and immoral behaviors spread over the whole society. Therefore, Fo-er Lin tried to find back the social justice which was lost so long time in social disorder by realism technique followed the works of Seicho Matsumoto. This thesis will discuss the social development of Taiwan mystery fiction based on the works of Seicho Matsumoto published by Mystery Magazine, Lin Po Publishing Corporation, and the other Publishing Corporations; in particular, the literatures published from 1977 to 1986. Meanwhile, by comparing the disordered phenomenon of Taiwan society and social development depicted in Fo-er Lin''s novels such as “Murder Case of Island”, “Beauty rolled of pearl-decorated curtain”, “The hawk of Eastern-Ao” and “The death of the Ape”, the thesis tried to analyze the Seicho Matsumoto''s influence on Taiwan mystery fiction. In Seicho Matsumoto''s works, it could be concentrated on the relevant social influence of the real life aspect under high economic development and behind pretty virtual livelihood in Japan. We can understand the transitions of history and society, as well as materialization of human nature at that time by observing the writing style of both Seicho Matsumoto''s and Fo-er Lin''s works that include five aspects: description for natural environment and social customs, confusions about consciousness of social class, justices hidden in the society messiness, arguments about the emotion relations between men and women, as well as positive suggestions provided for society. Finally, we could find that Taiwan mystery fiction is affected by Seicho Matsumoto''s mind, which also truly reveals the unjust things of Taiwan society and presents some suggestions on behalf of common people. By readers’ self-thinking and discussions, thus the society justice can be reappeared.

Fundada no dia 15 de Novembro de 1961, a Art Theatre Guild (ATG) japonesa começou por ser apenas uma distribuidora de filmes estrangeiros. O primeiro objectivo da companhia, composta por críticos influentes e pessoas ligadas ao cinema, era apresentar, pela primeira vez, um conjunto de cinematografias mundiais, comummente apelidadas de art-house, ao público japonês. Numa indústria ainda dominada pelos grandes estúdios de cinema e onde a distribuição das produções nacionais excedia mais do dobro das estrangeiras, a vinda desses filmes para salas selectas e a propagação dessa(s) refrescante(s) “estética(s) cinematográfica(s)” foi decisiva para o público e os cineastas japoneses conhecerem as obras contemporâneas de Jean Luc-Godard, Ingmar Bergman, Michelangelo Antonioni, Federico Fellini, Alain Resnais, Luis Buñuel mas também redescobrir Orson Welles ou até mesmo Sergei Eisenstein. A Nûberu Bâgu ou “A Nova Vaga do Cinema Japonês”, tendo sido cimentada pelos estúdios japoneses durante os primeiros anos da década de 60, via-se impossibilitada em continuar a filmar nesse contexto de produção, avesso ao arrojo estético e político, cada vez mais assinalável, das suas propostas. Por outro lado, uma nova geração de cineastas, vinda da cena emergente do documentário, sentia a necessidade de se exprimir fora dos formatos e condições que outro tipo de indústria, a dos filmes promocionais, lhe oferecia. Esta tensão entre criadores e produtores, assim como o subsequente ansejo de uma liberdade criativa sem barreiras e mediadores, foi o pano de fundo essencial para o ATG abrir a sua actividade enquanto produtora independente em 1967. Quer pelas inovadoras técnicas de produção, quer pela inventividade formal, carga política e o contexto social em que as obras foram produzidas, qualquer coisa de revolucionário tinha chegado ao cinema japonês. De 1967 a 1972, o catálogo das obras produzidas pelo ATG não era somente um amontoado de propostas sem ligação, realizadas por cineastas não alinhados (por exemplo, Ôshima Nagisa, Yoshida Kijû, Shinoda Masahiro, Matsumoto Toshio, Hani Susumu, Terayama Shûji, etc.), mas um conjunto complexo de obras que preconizava uma certa unidade estética, que, ainda v assim, não encontrava quaisquer ecos com a padronização dos grandes estúdios. A este estado de coisas tão sui-generis, porém nunca conceptualizado como tal pelos seus intervenientes mais directos, chamaremos de movimento. Esta dissertação concentrar-se-á em capturar a consistência e a pertinência deste baptismo, ao mesmo tempo que trará a terreiro um par de conceitos capaz de homogeneizar aquilo que, à primeira vista, parece heterogéneo. A partir da metáfora do músculo cardíaco que necessita de se contrair (sístole) e relaxar (diástole) para manter a circulação sanguínea de um organismo, também o movimento livre dos cineastas da ATG necessitou de explorar duas opções estéticas para construir um novo tipo de cinema: a primeira (sístole) caracteriza-se pelo enclausuramento da câmara no estúdio, a segunda (diástole) pela sua libertação nas ruas. Definirei as implicações espaciais e temporais do filme sistólico e diastólico, pondo igualmente em evidência o papel cimeiro da ATG na História do Cinema Japonês, como sendo, mais do que uma produtora, um modo de fazer cinema
Founded on the 15th of November 1961, the Art Theatre Guild (ATG) of Japan was originally a distributor of foreign films. The initial objective of the company, composed of influential critics and people with connections to the film world, was to introduce a group of international art-house films to the Japanese public for the first time. In an industry still dominated by the major studios and where the distribution of national productions was more than double that of foreign films, these screenings were significant for Japanese audiences and filmmakers alike, who were exposed to contemporary works from directors such as Jean Luc-Godard, Ingmar Bergman, Michelangelo Antonioni, Federico Fellini, Alain Resnais, and Luis Buñuel, and also provided an opportunity to discover the works of Orson Welles and Sergei Eisenstein. The "New Wave" of Japanese cinema was established by the main Japanese studios during the early sixties, but was unable to continue in that context due to the growing aesthetic and political radicalism of its participants. At the same time, a new generation of filmmakers from the emerging documentary scene felt the need to express themselves outside the conditions that the promotional film industry demanded. This tension between creators and producers, as well as the subsequent desire for creative freedom without barriers or mediators, was the catalyst for the ATG to begin activity as an independent production company in 1967. ATG's innovative production techniques and formal inventiveness paired with the social and political context of the films themselves was proof that something truly revolutionary had arrived in Japanese cinema. From 1967 to 1972, their catalogue was not simply a jumble of unrelated works made by unaffiliated filmmakers (eg Ôshima Nagisa, Yoshida Kijû, Shinoda Masahiro, Matsumoto Toshio, Hani Susumu, and Terayama Shûji), but a complex set of films with a certain aesthetic cohesion, a cohesion that was unlike the standardized style of the studios' "program pictures". We will refer to this unique scenario as a movement, though none of the filmmakers explicitly claimed to belong to one. This dissertation will focus on capturing the consistency and relevance of this movement, while introducing concepts that unify seemingly dissimilar elements. Like a heart muscle which must contract (systole) and relax (diastole) in order to maintain the circulation of blood in an organism, the free movement of the ATG filmmakers used two methods to construct a new form of cinema. The first (systole) is characterized by the enclosure of the camera in the studio space, while the second (diastole) is defined by the release of the camera into the streets. By defining the spatial and temporal implications of the systolic and diastolic style in ATG films, I will highlight the important role of the company and how it changed Japanese cinema. I will also argue that, more than a production company, the japanese ATG encompassed a mode of filmmaking.

(anglicky): In this thesis, two representative works of two post-war schools of Japanese detective fiction are analysed based on the knowledge of modern narratology. Two mentioned schools are so called social school of detective fiction (shakaiha 社会派), which appeared at the beginning of 60ties, and new authentic school of detective fiction (shin honkakuha 新本格派), which appeared at the beginning of 80ties. This thesis focuses on a theoretical understanding of the term "detective fiction", it describes the development of the detective genre in post-war Japan while focusing on the debates on "authentic" and "inauthentic" detective fiction and describes typical features of two previously mentioned schools. The by using a theoretical apparat suitable for analysing works of very schematic detective genre, two works - Points and lines (Ten to sen 点と線, 1958) written by Matsumoto Seichō 松本清張 (1909-1992) and Tokyo Zodiac Murders (Senseijutu satsujin jiken 占星術殺人事件, 1981) written by Shimada Sōji 島田荘司 (1948 - ) - are analysed. Analyses focus on composition schemes of both works and on the example translated from original works, existence or absence of elements typical for both schools are demonstrated while a different usage of these elements is showed.

碩士
輔仁大學
日本語文學系
100
Seichō Matsumoto’s works are notable for their “sociality”, the inclusion of real-life elements such as power struggles and the dark side of humanity. Stepping out of the usual bizarre and melodramatic narratives of pre-war detective fiction, Seichō worked to achieve a realistic portrayal of the settings and the mentality of characters to which the general public could relate, which were closer to the reality. However, Seichō did not just throw away the “unpredictable twists and turns” formula, a great emphasis of the orthodox school. He still impressed the readers with the mystery solving process, but at the same time managed to keep the story real. Readers were drawn to Seichō’s crime novels because they could feel the events of crime so close to their life and enjoyed the exquisite design of traps. Furthermore, Seichō had a gift of depicting the mental abnormality hidden in ordinary life, which was benefited from his shrewd observation of human mind. The vivid description of characters became the signature feature of Seichō’s works. Due to the fact that his long-length works, including the famous Suna no Utsuwa and the Trilogy, have been already widely discussed by previous studies, and that only few are centered on the characters of his shorter works, the thesis place its focus on Seichō Matsumoto’s short novels. Six were selected as the main subjects: Amagi Pass, Senzai Koukei, The Woman who Took the Local Paper, The Chase, The Voice and The Face. The purpose of research is to analyze how characters were portrayed in the psychological traps, identify Seichō’s unique perspective on character creation, and investigate the intention for such designs vis-à-vis the social context of his time.

碩士
輔仁大學
日本語文學系
100
People often have the concept of “good” and “bad”, “beauty” and “ugly” and etc. In additional, about the definition of “good and bad”, there are variety opinions to discuss with. For example, China's education system is the Confucian education. Mencius’s view is that man is innately good; Xun Zi believes that human nature is originally bad. Due to the technical development and media progression, it has big affection to our life. Moreover, the Internet and the communication media advances, we could receive many kinds of information. Nevertheless, the media pass “good” and “bad” on to the people but whose situation indicates “good” or “bad”? It is hard to recognize “good and bad” in this generation, so we will reference Seityou Matsumoto’s detective fiction as the object to study it. Seityou Matsumoto’s detective fiction is not only the reality of society but also the dark side of society and human nature. The charm of his detective fiction is to find the motive of prisoner not to find who the prisoner is. Therefore, the main discourse will be the center of Seityou Matsumoto’s detective fiction, focused on “waruiyatsura”, “kemonomiti”, “kurokawa no tetyou” as the object to explore the image of bad woman. First, trying to explore the bad woman how to awake the “bad”? Second, what the meaning of existence does bad woman have? Finally, to explore what the meaning of “bad” is again?