Academic literature on the topic 'Terayama'

Nineteen Epyris species are recorded from Korea. Ten new species: E. aequalis Lim et S. Lee, sp. nov., E. breviclypeatus Lim et S. Lee, sp. nov., E. dulicus Lim et S. Lee, sp. nov., E. finitus Lim et S. Lee, sp. nov., E. jeonbukensis Lim et S. Lee, sp. nov., E. limatulus Lim et S. Lee, sp. nov., E. longiantennatus Lim et S. Lee, sp. nov., E. mureungensis Lim et S. Lee, sp. nov., E. yetus Lim et S. Lee, sp. nov., and E. sudosanensis Lim et S. Lee, sp. nov. are described from Korea. Hitherto unknown females are described for E. fuscipes (Kieffer 1906) and E. yamatonis Terayama 1999. New synonymy is proposed for E. sauteri (Enderlein 1920) = E. formosus Terayama 2006, syn. nov. New combination is proposed for E. fuscipes (Kieffer 1906), comb. nov. (from Rhabdepyris). Seven species: E. asura Terayama 2006, E. darani Terayama 2006, E. fuscipes (Kieffer 1906), E. idaten Terayama 2006, E. niwoh Terayama 2006, E. sauteri (Enderlein 1920), and E. yamatonis Terayama 1999 are recorded for the first time from Korea. Descriptions, illustrations of diagnostic characteristics for each species are presented with a key to the Korean Epyris species.

Five species of Goniozus are recognized in Korea. Goniozus koreanus Lim, sp. nov. and G. mesolevis Lim, sp. nov. are described and figured; G. akitsushimanus Terayama, 2006 and G. yoshikawai Terayama, 2006 are newly recorded from Korea. Goniozus maurus Marshall, 1905 is excluded from Korean fauna. A key to the Korean species in females is provided.

The world species of Apenesia are revised. Twenty-seven previously described species of Pristocerinae are addressed to Apenesia: A. amoena Evans, A. bicolor Vargas & Terayama, A. chontalica Westwood, A. conradti Kieffer, A. delicata Evans, A. dominica Evans, A. flavipes Cameron, A. formosa Vargas & Terayama, A. laevigata (Evans), A. levis Kieffer, A. leytensis (Terayama), A. makiharai (Sawada, Terayama & Mita), A. malaitensis Brues, A. miki (Terayama), A. modesta (Smith), A. nigra Kieffer, A. parasitica (Smith), A. perlonga Corrêa & Azevedo, A. proxima Kieffer, A. punctata Kieffer, A. sahyadrica Azevedo & Waichert, A. singularis Lanes & Azevedo, A. sjostedti (Tullgren), A. substriata Kieffer, A. unicolor Kieffer, and A. vaurieorum Evans. Additionally, 21 new species are described and illustrated: Apenesia amenula sp. nov.; A. aniela sp. nov.; A. azeda sp. nov.; A. beliella sp. nov.; A. berela sp. nov.; A. bifiela sp. nov.; A. celiela sp. nov.; A. chandela sp. nov.; A. cila sp. nov.; A. colombela sp. nov.; A. elela sp. nov.; A. esila sp. nov.; A. eura sp. nov.; A. farela sp. nov.; A. gabela sp. nov.; A. girena sp. nov.; A. goela sp. nov.; A. itoiela sp. nov.; A. joela sp. nov.; A. juliela sp. nov. and A. kelsiela sp. nov. The sexual association of A. celiela and A. azeda was possible due to biological data information. A key to species based on males is presented. The genus Apenesia is a parasitiod of beetles that live in galleries in dead wood or seeds.

Conocer la dimensión artística de una ideología facilita la comprensión de la dimensión teórica de la misma, y viceversa. En este sentido, este artículo pretende analizar comparativamente el cine de Terayama Shūji, en concreto su película Sho o suteyo machi e deyō (Tira los libros, sal a la calle), y la teoría de la taishū de Yoshimoto Takaaki, como componentes de la ideología de la Nueva Izquierda japonesa de finales de la década de 1960 y principios de la de 1970. Específicamente me centro en los paralelismos existentes entre el cine de Terayama y la teoría de Yoshimoto en lo que respecta a su visión de la relación entre la figura del intelectual y las masas. Desarrollo este análisis comparativo partiendo de la base de que, a pesar de la crítica de la ideología que alberga la obra tanto de Yoshimoto como de Terayama, sus planteamientos contienen una fuerte carga política.

The genus Aenictus is a diverse group of army ants in the Old World tropics and subtropics. The worker-based Aenictus piercei species group of Jaitrong and Yamane (2011) is redefined and renamed here as the Aenictus minutulus group. Aenictus piercei Wheeler et Chapman, 1930 and A. lifuiae Terayama, 1984 are removed from this group; the former is moved to the A. javanus group and the latter to the A. ceylonicus group. The Southeast Asian species of the group are revised to include six species: Aenictus changmaianus Terayama et Kubota, 1993, Aenictus sp.56 of WJT, A. minimus sp. nov., A. minutulus Terayama et Yamane, 1989, A. peguensis Emery, 1895 and A. subterraneus sp. nov. Aenictus changmaianus, A. minimus and A. peguensis are probably restricted to the seasonal forest located northward from the Isthmus of Kra, while A. minutulus, A. subterraneus and Aenictus sp.56 of WJT are obviously Sundaland species inhabiting the perhumid evergreen rainforest.

Three related genera of Asian Amiseginae, Baeosega Krombein, Nipponosega Kurzenko & Lelej, and Okinawasega Terayama are revised. The male of N. yamanei Kurzenko & Lelej and the female of O. eguchii Terayama are newly described. The following new synonymies are proposed: Baeosega humida Krombein, 1984 = B. laticeps Krombein, 1984, syn. nov.; Nipponosega yamanei Kurzenko & Lelej, 1994 = N. kantoensis Nagase, 1995, syn. nov. A new species of Nipponosega, N. lineatasp. nov. is described based on a female from Thailand. A key to genera and species of Baeosega, Nipponosega and Okinawasega is given.

Esta pesquisa tem como objetivo o mapeamento do espaço que ocupa Terayama Shūji, poeta, escritor, dramaturgo e diretor de cinema japonês, frente ao período histórico a que pertenceu e frente às teorias da vanguarda e do pós-modernismo. A investigação se inicia com o período do pós-guerra no Japão, quando em meio a protestos e ansiedades políticas, floresce na capital do país uma nova vanguarda artística. O primeiro capítulo é dedicado a um exame do teatro angura e da nova onda do cinema, dois movimentos dos quais Terayama fez parte. Procura-se então delinear suas propostas artísticas e suas principais influências, japonesas e estrangeiras, examinando como seu trabalho se aproxima ou se afasta do paradigma pós-moderno conforme teorizado principalmente por Fredric Jameson, mas levando em conta reflexões sobre as aplicações desse conceito especificamente no Japão. Por fim, o último capítulo se debruçará sobre dois longas-metragens do diretor Joguem seus livros, vamos às ruas, de 1971, e Pastoral: Morrer no campo, de 1974 de modo a encontrar exemplos do seu caráter experimental, subversivo, de sua insurreição contra as instituições da família e do Estado e de suas complexas relações com a política, a história, o pastiche e a espetacularização.
This research aims at mapping the space occupied by Terayama Shūji, a Japanese poet, playwright and filmmaker, in his historical context and in relation to avant-garde and postmodernism theories. The investigation begins with postwar Tokyo, when amid protests and a climate of political anxiety, a new avant-garde movement starts to flourish. The first chapter is dedicated to an examination of the angura theatre and the Japanese new wave, two of the movements Terayama was part of. We shall then trace his general artistic views and main influences, Japanese and foreign, examining how they relate to postmodern characteristics as theorized mainly by Fredric Jameson, but also inquiring at how this very concept can apply to the Japanese context. In the last chapter, we shall take two of Terayamas feature films Throw Away Your Books, Rally In The Streets and Pastoral: To Die in The Country for further analysis, in order to find more specific examples of his experimental and subversive character, his rejection of the institutions of family and the State, and his complex relationship with politics, history, pastiche and spectacularization.

Intercultural theatre is a highly contested form of theatre. Critical discussions over its position as a revitalizing force or a colonial instrument have raged on for almost thirty years. An investigation into two theatre directors who have often been in the spotlight concerning these critical discussions, French theatre director, Ariane Mnouchkine, and Japanese cult icon, Shji Terayama, will illuminate the possibility of moving beyond such oppositions. Both have employed Asian theatre techniques and aesthetics, specifically Japanese, to produce highly theatrical performance events which actively engage their spectators. However, their methods vary from elegant integration to confrontational provocation. An extensive exploration into both artists prolific theatre, and the established theories concerning the process of creating intercultural theatre postulated by a range of theorists including, Patrice Pavis, Rustom Bharucha, Jacqueline Lo and Helen Gilbert, will reveal a fresh look at interculturalism where cross-cultural theatre exists on a continuum.

碩士
國立臺灣大學
日本語文學研究所
105
Kōbō Abe and Shūji Terayama are Japanese writers known for their avant-garde works(前衛) . Nonetheless, except Shūji Terayama’s Box and Abe Kobo’s Box Man, few research has been done on comparing their works. This paper will try to point out the relationship between The Wall ─ The Crime of S. Karma by Kōbō Abe and Remming by Shūji Terayama and then compare and contrast their use of the image of wall and box. First, a new interpretation will be given concerning the imagery of wall and box in their works. According to Ishigawa Jun(石川淳), who wrote the preface for The Wall ─ The Crime of S. Karmasaid , the first literature work that uses [wall] as a metaphor to describe the problem humans face is Russian writer Fyodor Dostoyevsky’s Notes from Underground. While confronting the difficulties of life, symbolized by a wall, Kōbō Abe stands up and writes something on it and lets his reader think about the whole situation. Shūji Terayama lets the main character have the ability to pass through all the walls, which is an expression of the belief that we can overcome all the problems in life in a positive way. In order to escape from society, the protagonists in Box and Box Man choose to live in a box. In Box, the protagonist hides himself in a box and does nothing. However, in the end, he finds out that the box is a community from which he needs to escape. The protagonist of Box Man maintains his life by making a small window on the box so that he can observe the world without being looked at. This thesis will make use of Kōjin Karatani’s(柄谷行人) theory of “parallax view” and of Sigmund Freud’s psychoanalysis theory to interpret the image of box in their works. When the two well-known writers encounter the question of the meaning of life, they show a positive attitude towards it. Using literature as their tool, they enrich their meaning of life and convey this message to their readers that it is important to find your own value and work hard for it.It is my biggest hope that, by reading this thesis, readers will be encouraged to rethink about what it means to live a meaningful life.

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.

The distribution and abundance of ants on islands has attracted considerable attention from ecologists and biogeographers, especially since the classic studies by Wilson on the ants of Melanesia and the Pacific islands (Wilson 1961; Wilson and Taylor 1967a,b; see also updates by Morrison 1996, 1997). The species-area curve for Polynesian ants was an important contribution in the development of island biogeography theory (MacArthur and Wilson 1967). Subsequent studies of other island ant faunas, such as those of the Caribbean (Levins et al. 1973; Wilson 1988; Morrison 1998a,b), Japan (Terayama 1982a,b, 1983, 1992), Korea (Choi and Bang 1993; Choi et al. 1993), and island archipelagos in Europe (Baroni Urbani 1971, 1978; Pisarski et al. 1982; Vepsäläínen and Pisarski 1982; Ranta et al. 1983; Boomsma et al. 1987) and North America (Goldstein 1976; Cole 1983a,b), have confirmed the general features of this relationship, although the underlying causative agents and the relative contribution of stochastic and deterministic processes to ant community composition remain points of controversy. The islands in the Sea of Cortés are particularly interesting from a biogeographic standpoint because they vary considerably in size, topography, and isolation. In addition, both oceanic and landbridge islands occur in the gulf, allowing comparisons between faunas that resulted from colonization (assembly) versus relaxation. Nevertheless, the ant assemblages of the gulf islands have received little study. There are a few scattered island records in taxonomic and faunistic papers (Smith 1943; Cole 1968; MacKay et al. 1985). Bernstein (1979) listed 16 ant species from a total of nine Gulf of California islands, but a number of evident misidentifications occur in her list. To the best of our knowledge, no other publications have appeared on the ant communities of these islands. In this chapter, we document the ant species known from islands in the Sea of Cortés and analyze species composition in a selected subset of the better sampled islands. Most of the data come from recent collections made within the last two decades.