Academic literature on the topic 'Morimura'

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Journal articles on the topic "Morimura"

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Matsumura, Kimiko. "The Death of Painting and Its Afterlife in Morimura Yasumasa’s Portrait (Futago)." Arts 12, no. 5 (2023): 196. http://dx.doi.org/10.3390/arts12050196.

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This essay performs a close reading of Morimura’s Portrait (Futago) to establish how the artist’s multi-media approach echoes 1980s declarations about the end of painting while also proposing alternatives for its historical and material afterlife. In many ways, the artist’s performances make the crises brought on by the emerging global economy visual, and as such pointed to a number of slow deaths: of painting, of capitalism, of Japanese tradition. But the images do not merely document the demise. Instead, they present a scenario in which multiplicities define contemporary being. By considerin
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Michiko, Kasahara, and Lena Fritsch. "Morimura Yasumasa—Portrait (Futago)." Art in Translation 4, no. 4 (2012): 499–512. http://dx.doi.org/10.2752/175613112x13445019280934.

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Kley, Elisabeth. "Impersonations: Morimura, Colette, and Dellsperger in Costume." PAJ: A Journal of Performance and Art 25, no. 3 (2003): 91–94. http://dx.doi.org/10.1162/152028103322491728.

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Navarrete, Constanza. "El travestismo fotográfico de Yasumasa Morimura: un ejemplo de parodia y anacronismo en el arte contemporáneo." Panambí. Revista de Investigaciones Artísticas, no. 5 (December 7, 2017): 73. http://dx.doi.org/10.22370/panambi.2017.5.1041.

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El artista japonés Yasumasa Morimura suele apropiarse de obras famosas de la historia del arte occidental, mediante fotografías donde figura reemplazando a los personajes femeninos retratados a través de una puesta en escena con disfraces, maquillaje y accesorios. De este modo, sus montajes alteran la pintura o fotografía original, incluyendo también otros elementos para resignificar la obra de referencia parodia mediante el humor y la crítica. Esta estrategia es utilizada por numerosos artistas contemporáneos que combinan estéticas y visiones de distintos momentos históricos, aludiendo a un c
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Selistre, Jacks Ricardo, and Rosa María Blanca. "Rupturas identitárias na produção artística de Cindy Sherman e Yasumasa Morimura." Palíndromo 10, no. 21 (2018): 116–29. http://dx.doi.org/10.5965/2175234610212018116.

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Zohar, Ayelet. "An Exploration of the Scarcity of Asian Images in Morimura Yasumasa’s Oeuvre, 1991–2010." Third Text 35, no. 5 (2021): 569–90. http://dx.doi.org/10.1080/09528822.2021.2000241.

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Nam, Sang Hyon. "Studying Juvenile Intent to Harm in Juvenile Crime Novels of the 1970s : 「Kuhakuno Kyoso」 and 「Mashonen」 by Morimura Seichi." Korean Journal of Japanology 108 (August 31, 2016): 143. http://dx.doi.org/10.15532/kaja.2016.08.108.143.

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Hyon, Nam Sang. "Studying Juvenile Intent to Harm in Juvenile Crime Novels of the 1970s:「Kuhakuno Kyoso」and「Mashonen」by Morimura Seichi." Korean Journal of Japanology 108 (August 31, 2016): 144–60. http://dx.doi.org/10.15532/kaja.2016.08.108.144.

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Gattinoni, Christian. "Des corps toujours vêtus d’images." Figures de l'Art. Revue d'études esthétiques 4, no. 1 (1999): 455–64. http://dx.doi.org/10.3406/fdart.1999.1216.

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À l’exception des modifications apportées à l’intérieur du nu comme genre artistique avec des artistes tel Helmut Newton, des écrivains, de Pascal Quignard à Bernard Noël, et des artistes affirment que les corps apparemment nus restent toujours vêtus d’images. Dany Leriche, Annie Sprinkle ou Yasumasa Morimura en profitent pour interroger l’héritage historique et culturel de l’image de la femme. Avec Nobuyoshi Araki, à travers le journal d’une vie, l’identité sexuelle réaffirmée met en lumière la peau comme écran -limite à transgresser. Hiromix assume quant à elle le devenir clone de l’être hum
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Shigematsu, Toru, Yueqin Tang, Tsutomu Kobayashi, Hiromi Kawaguchi, Shigeru Morimura, and Kenji Kida. "Effect of Dilution Rate on Metabolic Pathway Shift between Aceticlastic and Nonaceticlastic Methanogenesis in Chemostat Cultivation." Applied and Environmental Microbiology 70, no. 7 (2004): 4048–52. http://dx.doi.org/10.1128/aem.70.7.4048-4052.2004.

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ABSTRACT Acetate conversion pathways of methanogenic consortia in acetate-fed chemostats at dilution rates of 0.025 and 0.6 day−1 were investigated by using 13C-labeled acetates, followed by gas chromatography-mass spectrometry (GC-MS) analysis of the CH4 and CO2 produced. Nonaceticlastic syntrophic oxidation by acetate-oxidizing syntrophs and hydrogenotrophic methanogens was suggested to occupy a primary pathway (approximately 62 to 90%) in total methanogenesis at the low dilution rate. In contrast, aceticlastic cleavage of acetate by aceticlastic methanogens was suggested to occupy a primary
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Dissertations / Theses on the topic "Morimura"

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Gorman, Caitlin Marie. "Yasumasa Morimura: Appropriator of Images, Cultures, and Identities." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363520942.

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Levy, Deborah. "Mitate et citation dans l’oeuvre de Morimura Yasumasa : autoportrait d’une histoire de l’art." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080025.

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La citation et le mitate sont des procédés mimétiques proches au regard des autoportraits photographiques de Morimura Yasumasa. En citant directement les tableaux et le cinéma occidental, l’artiste reconstitue une histoire de l’art et de l’image dans le contexte japonais et du Kansai. Pourtant, bien que la citation, l’imitation et la copie caractérisent ses œuvres, l’artiste et les critiques japonais n’ont encore jamais mis en cause l’implication de l’influence du mitate. Or, sa définition, qui se traduit par une « transposition » que l’on déplace d’un cadre spatiaux-temporel à l’autre, sous u
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Levy, Deborah. "Mitate et citation dans l’oeuvre de Morimura Yasumasa : autoportrait d’une histoire de l’art." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080025.

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La citation et le mitate sont des procédés mimétiques proches au regard des autoportraits photographiques de Morimura Yasumasa. En citant directement les tableaux et le cinéma occidental, l’artiste reconstitue une histoire de l’art et de l’image dans le contexte japonais et du Kansai. Pourtant, bien que la citation, l’imitation et la copie caractérisent ses œuvres, l’artiste et les critiques japonais n’ont encore jamais mis en cause l’implication de l’influence du mitate. Or, sa définition, qui se traduit par une « transposition » que l’on déplace d’un cadre spatiaux-temporel à l’autre, sous u
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Khan, David Michael. "Questions of Cultural Identity and Difference in the work of Yasumasa Morimura, Mariko Mori and Takashi Murakami." Thesis, University of Canterbury. Fine Arts, 2007. http://hdl.handle.net/10092/973.

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This thesis explores the work of three contemporary Japanese artists - Yasumasa Morimura, Mariko Mori and Takashi Murakami - in relation to cross-cultural exchanges and differences between Japan and the West. In carrying out such an investigation, this study illustrates how these artists play with Japanese and Western cultural forms in the context of postmodern challenges to concepts of essence and authenticity, and in a technologically transformed world shaped by unprecedented global flows of information, people, products and capital. In Morimura's art-making, this play is characteri
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Stahlénius, Orrit. "Det queera Japan: Genusföreställningar och normbrytande konst i det samtida Japan." Thesis, Södertörn University College, The School of Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1116.

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<p>This paper discusses some concerns about Japanese gender identity as a construct and the subversive means to overthrow it. In my paper I claim that the eastern influences on Japan has created a gap between old and new gender- traditions and norms. This interspace is what the philosopher Judith Butler claims as the site for a possible gender transformation. As Butler claims gender identity to be a construct, I use her methods of understanding and subsequently queertheory, to investigate the construct of Japanese gender identity and also the norms that constitute a national identity. As I ela
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Huang, Shih-cheng, and 黃士誠. "Revolt of Contemporaneity, Sacrifice of Tradition: The Crossover Subject of Morimura Yasumasa." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/46247p.

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碩士<br>國立中央大學<br>藝術學研究所<br>99<br>Contemporary Japanese photographer Morimura Yasumasa (1951-) creates self-portrait photographs with strategies of parody and appropriation. The motifs in Morimura’s oeuvres contain multiple spheres including history, avant-gardism, popular culture and history etc. Synchronically, Morimura proceeds with various crossover performances interacting between the realms of Japanese and international art. This thesis mainly concentrates on Morimura’s photographs created in the period of 1985-2010, with focuses on the series of “Japanese Art History”, “Art History”, “The
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Lefebvre, Claire. "Analyse du phénomène citationnel dans l'oeuvre "Portrait (Futago)" de l'artiste japonais Yasumasa Morimura." Mémoire, 2006. http://www.archipel.uqam.ca/3230/1/M9607.pdf.

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Ce mémoire propose une étude sur la pratique citationnelle de l'artiste japonais Yasumasa Morimura, telle qu'elle apparaît dans l'oeuvre Portrait (Futago). La citation n'est pas un phénomène nouveau. Faisant suite au principe de l'imitation, la citation caractérise l'ère dite postrnoderne de l'histoire de l'art occidentale. Avant l'arrivée de la modernité, les artistes avaient plutôt tendance à masquer leurs emprunts stylistiques. Les auteurs contemporains de la citation perpétuent la tradition imitative avec la principale différence qu'ils affirment leurs sources picturales. Les dernières déc
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Yang, Pei-yung, and 楊珮芸. "Postmodern Photography as Mimicry and Subversion of Canonical Western Pictorial Art : Cindy Sherman and Yasumasa Morimura." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/03239904057867775808.

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碩士<br>南華大學<br>美學與藝術管理研究所<br>94<br>To rebel against tradition has always been the essence of Avant-gardism. Whether it is Duchamp who added a goatee and a moustache over a reproduction of the Mona Lisa, or Dali’s version by directly adding his own face into the painting, these are all pranks played on the so-called ‘masterpieces’ in traditional Western art history. However, by the age of post-modernism, more and more outrageous pranks have been played, and have broadened to include alternative mediums and materials. Since the twentieth century, combined with issues of power, gender, race, etc,
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Khan, David M. "Questions of cultural identity and difference in the work of Yasumasa Morimura, Mariko Mori and Takashi Murakami : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Art History in the University of Canterbury /." 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20071012.091748.

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WU, FU AN, and 吳馥安. "The Time Machine and the Deconstruction of Time in Cindy Sherman’s History Portraits and Yasumasa Morimura’s Art History." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/27836785038089233254.

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碩士<br>國立臺灣師範大學<br>藝術史研究所<br>102<br>The American artist Cindy Sherman (born January 19, 1954) and the Japanese artist Yasumasa Morimura (born June 11, 1951) were often compared and discussed together. Not only because they both became famous in the 1980s, but also because they both use photography as medium and perform themselves a variety of archetypal characters in their artistic works. Both Sherman in her History Portraits series (1988 to1990) and Morimura in his Art History series (1985 to 2001) chose Western art history as subject matter and appropriated canonical paintings to create their
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Books on the topic "Morimura"

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Morimura, Yasumasa. Yasumasa Morimura. Nicola Jacobs Gallery, 1990.

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Gabriels. Gabriels/Morimura: Morfologie. Lantana editore, 2018.

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Morimura Ichizaemon no muyoku no shōgai: Morimura Ichizaemon no muyoku no shōgai. Sōshisha, 1998.

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Morimura Ichizaemon: Tsūshō rikkoku Nihon no ninaite. Nihon Keizai Hyōronsha, 2008.

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Lille (France). Musée des beaux-arts., ed. Goya, Les Caprices & Chapman, Morimura, Pondick, Schütte. Somogy, 2008.

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Morimura, Yasumasa. Daughter of art history: Photographs by Yasumasa Morimura. Aperture, 2003.

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Bijutsukan, Shiga Kenritsu Kindai, ed. Kopī no jidai: Dyushan kara Wōhoru, Morimura e : kaikan 20-shūnen kinenten = 20th anniversary exhibition, the copy age from Duchamp through Warhol to Morimura. Shiga Kenritsu Kindai Bijutsukan, 2004.

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Narita, Morimasa. "Ningen no mori" o utsu: Morimura Seiichi sakuhin to sono jidai. Tabata Shoten, 2018.

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Morimura, Yasumasa. Yasumasa Morimura: Requiem for the XX century : twilight of the turbulent gods. Skira, 2008.

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Morimura, Yasumasa. Yasumasa Morimura: Requiem for the XX century : twilight of the turbulent gods. Skira, 2008.

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Book chapters on the topic "Morimura"

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Shibata, Atsuro. "The Formation Process and Logic of the Spin-off Governance Mode: A Case Analysis of the Morimura Zaibatsu." In New Frontiers in Regional Science: Asian Perspectives. Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-6695-7_7.

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"Virtual Beauty: Orlan and Morimura." In Exploding Aesthetics. BRILL, 2001. http://dx.doi.org/10.1163/9789004495012_017.

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"Nascentes morimur: Francisco de Holanda as Artist, Reader and Writer." In The Artist as Reader: On Education and Non-Education of Early Modern Artists. BRILL, 2013. http://dx.doi.org/10.1163/9789004242241_014.

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Bacal, Svetlana. "ORDINUL COLEOPTERA Diversitatea speciilor de coleoptere (Insecta: Coleoptera) din Rezervația „Plaiul Fagului”." In Fauna Rezervației „Plaiul Fagului”. Nevertebrate. Institute of Zoology, Republic of Moldova, 2022. http://dx.doi.org/10.53937/9789975347792.06.

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Lucrarea include lista speciilor de coleoptere din familiile: Buprestidae, Cantharidae, Carabidae, Cerambycidae, Cleridae, Coccinellidae, Cucujidae, Curculionidae, Elateridae, Endomychidae, Erotylidae, Geotrupidae, Histeridae, Laemophloeidae, Lampyridae, Lucanidae, Mycetophagidae, Pyrochroidae, Prostomidae, Scarabaeidae, Silvanidae, Silphidae, Staphylinidae, Tenebrionidae și Zopheridae, colectate în perioada 1924 - 2021 din Rezervația „Plaiul Fagului”. La realizarea studiului au fost utilizate colectările personale, colecțiile entomologice a Institutului de Zoologie, a Muzeului Național de Etnografie și Istorie Naturală, a Muzeului Universității de Stat din Moldova, cât și sursele bibliografice disponibile. Sunt citate 223 de specii de coleoptere încadrate în 145 de genuri și 25 de familii. Pentru fiecare specie sunt menționate citările anterioare. Cele mai multe specii au aparținut familiilor Elateridae – 47 de specii din 20 de genuri; Staphylinidae – 44 specii, 32 genuri; Carabidae – 44 specii, 19 genuri și Cerambycidae – 31 specii, 22 genuri. Un număr mai mic de specii au prezentat familiile Scarabaeidae – 11 specii, 10 genuri; Tenebrionidae – 7 specii, 7 genuri; Silphidae – 7 specii, 5 genuri; Coccinellidae – 4 specii, 4 genuri și Cantharidae – 3 specii, 2 genuri. Familiile Buprestidae, Curculionidae și Lucanidae au fost reprezentate de câte 3 specii din 3 genuri fiecare. Familiile, Zopheridae și Histeridae au avut câte 2 specii din 2 genuri, iar familia Geotrupidae cu 2 specii dintr-un singur gen. Celelalte 10 familii: Silvanidae, Endomychidae, Lampyridae, Laemophloeidae, Cucujidae, Erotylidae, Mycetophagidae, Cleridae, Pyrochroidae și Prostomidae s-au remarcat doar prin câte o singură specie. Pentru 111 specii de coleoptere colectate de autor în perioada 2010-2021 este prezentată o scurtă caracteristică cu referire la poziția sistematică, materialul studiat, citările anterioare, microhabitat, trofică și aria de distribuție a speciei. Din cele 223 de specii identificate - 68 au fost noi pentru rezervație, iar 2 specii (Triplax aenea și Prostomis mandibularis) noi și în fauna Republicii Moldova. A fost confirmată prezența pe teritoriul rezervației a speciilor de coleoptere rare: Calosoma sycophanta, Carabus intricatus, Carabus ullrichii, Carabus variolosus, Carabus violaceus, Ocypus olens, Lucanus cervus, Cetonischema aeruginosa, Gnorimus octopunctatus, Oryctes nasicornis, Elater ferrugineus, Ischnodes sanguinicollis, Porthmidius austriacus, Cucujus cinnaberinus, Aromia moschata, Cerambyx cerdo, Morimus asper funereus, Purpuricenus kaehleri și Rosalia alpina, care sunt incluse în edițiea a III-a a Cărții Roșii a Republicii Moldova. Dintre acestea, speciile Carabus intricatus, Gnoriumus octopunctatus, Cetonischema aeruginosa, Liocola lugubris, Lucanus cervus, Cucujus cinnabaerinus, Rosalia alpina, Saperda punctata, Morimus asper funereus, Elater ferrugineus, Ischnodes sanguinicollis, Porthmidius austriacus, Cerambyx cerdo, Rhysodes germari și Rhysodes sulcatus fiind și specii saproxilice indicatoare ale pădurilor de importanţă europeana. Speciile: Carabus variolosus, Cerambyx cerdo, Cucujus cinnaberinus, Rosalia alpina, Morimus asper funereus, Lucanus cervus și Rhysodes sulcatus sunt incluse și în Anexele II și IV din Directiva 92/43/CEE privind conservarea habitatelor naturale și ale faunei și florei sălbatice, Anexa II, a Convenției de la Berna și în situl Natura 2000. Pe teritoriul rezervației au fost identificate peste 50 de specii de coleoptere saproxilice. Pentru a păstra speciile de coleoptere saproxilice și cele rare în ecosistemele forestiere, trebuie păstrat în cadrul ecosistemului buștenii mari împreună cu ramurile acestora, cât și arborii morți pe picior. Rezultatele obținute privind componența și diversitatea speciilor de coleoptere în Rezervația „Plaiul Fagului” confirmă valoarea incontestabilă a ariei naturale cercetate pentru conservarea și restabilirea biodiversității.
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Ganeri, Jonardon. "Heteronyms as Virtual Subjects." In Virtual Subjects, Fugitive Selves. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864684.003.0002.

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The authorial act of heteronymic self-transformation is quite different from that of inventing a character in a story. What is fundamental to the notion of a heteronym is that it is an othered I, ‘lived by the author within himself’, that is to say, lived first-personally. A heteronym is not a character because the relationship an author stands in to an invented character is a third-personal one. A closer analogy would be with one of those stories in which each section has a different narrator writing from a first-person position, such as Orhan Pamuk’s novel My Name is Red or William Faulkner’s As I Lay Dying. Yet a sequence of distinct narrators writing in the first person is still not a display of heteronymy: they are distinct characters taking it in turn to speak about themselves. When one dreams it is not uncommon for one to oneself figure in the dream, as the one to whom the events in the dream are presenting. The ‘subject-within-the-dream’ is both a virtual subject and a simulation of the dreaming subject; and for this reason it would be entirely appropriate to describe the subject-within-the-dream as the dreaming subject’s heteronym in the dream. The idea of heteronymy is also well-captured in Yasumasa Morimura’s multiple self-portraiture under the assumed identities of famous historical artists.
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Conference papers on the topic "Morimura"

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Layton Souza Maia, Antonio. "YASUMASA MORIMURA DIANTE DA OLYMPIA (1863) DE MANET: IMAGEM DIALÉTICA E INTER-REFERÊNCIA EM FUTAGO (1988)." In 31º Encontro Nacional da ANPAP - EXISTÊNCIAS. Even3, 2022. http://dx.doi.org/10.29327/31enanpap2022.513550.

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