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Journal articles on the topic 'The Artist of the Floating World'

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Published: 5 June 2025

Last updated: 16 July 2025

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1

McGeown, Kate. "An artist of the floating world." Nature 388, no. 6640 (1997): 333. http://dx.doi.org/10.1038/40989.

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2

Drozdovskyi, D. І. "An Artist of the Floating World." Visnik Nacional'noi' academii' nauk Ukrai'ni 12 (December 20, 2017): 73–76. http://dx.doi.org/10.15407/visn2017.12.073.

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3

Sarvan, Charles. "Floating Signifiers and An Artist of the Floating World." Journal of Commonwealth Literature 32, no. 1 (1997): 93–101. http://dx.doi.org/10.1177/002198949703200108.

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4

Romano, Donna. "In the service of artists – symbiosis and creative engagement in collection development strategy at NIVAL: National Irish Visual Arts Library." Art Libraries Journal 43, no. 3 (2018): 127–36. http://dx.doi.org/10.1017/alj.2018.17.

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This paper explores the essential and dynamic relationship between the artist and the institution in building the public record of arts activity. It examines the lifecycle of artist-generated documentation and the various methods of engagement with the library that result in material contributions to the collection.Taking the view that NIVAL is an essentially democratic project in both collection development and access strategies, the paper presents an introduction to the genesis of the library, and outlines some of the ways in which contemporary artists are supporting the role of NIVAL as ‘living archive’. The paper examines a number of recent collaborative projects with practising artists including Jennie Guy, artists’ collaborative Floating World and National College of Art & Design Communication Design students that attest to the regenerative effect of direct engagement by artists in the process of legacy building.

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5

Gallois, William. "An Illumination of a Floating World." American Historical Review 126, no. 2 (2021): 708–9. http://dx.doi.org/10.1093/ahr/rhab221.

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Abstract If a picture was not seen to be art when it was made, can we imagine that its producer may have designed the work to be read elsewhere in time or space? Or, perhaps, that the eyes that have been trained upon the work have rarely been those that were able to see and describe its value? This piece (also available on Instagram @cendrillondefes) tries to dramatize the gains that come to history through a process of learning to read a text whose significance was not seen in the moment in which it was made. It aims at a discrete form of upending, in reevaluating the work of an important artist and the culture from which they came, while aspiring to be a more of a beginning than an ending in its more general goals. These humbler aspirations depend upon seeing its subject as a teacher, rather than simply as an object of study.

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Zeynep, Rana Turgut. "Looking at the changing world through a displaced and estranged artist: Kazuo Ishiguros, an artist of the floating world." Journal of Languages and Culture 8, no. 4 (2017): 32–36. http://dx.doi.org/10.5897/jlc2017.0430.

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M, Dhivashini, and Dr S. Susan Nirmala. "An Exploration of Historical Backdrops and their Consequences in former Novels of Kazuo Ishiguro." International Journal of English Literature and Social Sciences 10, no. 2 (2025): 106–8. https://doi.org/10.22161/ijels.102.18.

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The novels The Pale View of The Hills, An Artist of the Floating World, The Remains of The Day and When We Were Orphans hold the history of World War II predominantly and other historical contexts. Kazuo Ishiguro has placed history as an inevitable backdrop for most of his novels. The storyline blends with history and varies from traditional historical fiction. The protagonists are severely affected by the war, and the trauma recurring in the characters. This paper aims to analyse the historical instances and the trauma the characters had to undergo in the former novels of Ishiguro. In The Pale View of The Hills and An Artist of the Floating World, Estuko and Ono, the protagonists, recount their trauma after the disastrous atomic bombs on Nagasaki. The hardship in rebuilding the city after the loss is eminently narrated through the characters. In the novels, The Remains Of The Day and When We Were Orphans the histories are pinned along as important events before World War I and inevitable consequences of the Sino-Japanese War respectively.

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Das, Sonali, Mousumi Dash, Ashok Kumar Mohanty, and Salini Sethi. "Sculpting Historiography as a Narrative in An Artist of the Floating World." Research Journal of Humanities and Social Sciences 11, no. 1 (2020): 1. http://dx.doi.org/10.5958/2321-5828.2020.00001.7.

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9

Bok-ki Lee. "Kazuo Ishiguro’s An Artist of the Floating World: Problems of Repentance and Forgiveness." Studies in English Language & Literature 44, no. 2 (2018): 149–66. http://dx.doi.org/10.21559/aellk.2018.44.2.008.

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10

Perlberg, Mark. "The Floating World." Hudson Review 42, no. 1 (1989): 93. http://dx.doi.org/10.2307/3851164.

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11

Wright, Timothy. "No Homelike Place: The Lesson of History in Kazuo Ishiguro’s An Artist of the Floating World." Contemporary Literature 55, no. 1 (2014): 58–88. http://dx.doi.org/10.1353/cli.2014.0009.

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12

Soni, Suraj, and Vipan Pal Singh. "Of Cowardice, Responsibility and Nationalism in Post-war Japan: Re-mapping the Postmodern Ex-centric in Kazuo Ishiguro’s An Artist of the Floating World." Creative Launcher 9, no. 6 (2024): 133–40. https://doi.org/10.53032/tcl.2024.9.6.15.

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The ‘ex-centric’ is derived from ek, which means out, and kentron, which means centre. The term is Greek in origin and signifies not having the earth as its centre of an orbit. Since the 17th century, it has been used to describe behaviour that deviates from conventional accepted styles. This concept interrogates facts of one world — the status quo — the world as it is and recreates it based on the mini-narratives. This paper examines the spaces that legitimise discourses of difference, focusing on marginalised or ex-centric characters within dominant ideologies as portrayed in Kazuo Ishiguro’s An Artist of the Floating World (1986), set in post-war Japan. The paper critiques the shifting dynamics of centre-margin societal patterns vis-à-vis art and artists in post-war Japan. Art, as a mode of expression, illuminates societal values and encourages people globally, yet its definition changes over time as many critics come up with multiple perspectives. Art in past decades had different implications than current scenarios. This paper critically appropriates art and its relationship with the individual in the postmodern era, interrogating the concept of centre and margin. Additionally, it examines the role of artists during wartime, focusing on the portrayal of the Japanese Empire in contemporary paintings. Ultimately, the study examines how the concept of the center is defined, shaped, and perpetuated through philosophical, empirical, and ideological frameworks.

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13

He, Jingxi. "A Long Anxiety Dream: The Absence and Subversion of Identity in Kazuo Ishiguro's an Artist of the Floating World." Journal of Education, Humanities and Social Sciences 13 (May 11, 2023): 429–32. http://dx.doi.org/10.54097/ehss.v13i.8214.

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The article will discuss Kazuo Ishiguro's possibilities as an atypical diasporic writer by focusing on his dual international background. Next, through analyzing his early novel “An Artist of The Floating World”, the theme of the absence and subversion of identity can be revealed. By shaping an imagined post-war Japan and using unreliable narratives, Kazuo Ishiguro succeeds in conveying universal anxiety. Finally, we will explore the writer's own anxieties implied behind the context of his personal goal of so-called “universal values”, where the United States plays a role of “the other” that cannot be ignored.

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Hind Essafir. "Kiran Desai and Kazuo Ishiguro: Worlding Diasporic Literature between the Local and the Global in The Inheritance of Loss and an Artist of The Floating World." International Journal of Linguistics, Literature and Translation 7, no. 9 (2024): 333–38. http://dx.doi.org/10.32996/ijllt.2024.7.9.29.

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This paper offers an intertextual reading of Kazuo Ishiguro’s An Artist of The Floating World (1986) and Kiran Desai’s The Inheritance of Loss (2006). It explores how both texts manage the circuits of the international book market as commodities conscious of the stakes involved in addressing a global audience and cognizant of their translinguistic and transcultural vocations. The paper probes the discursive sites built by the two texts while oscillating between the will to defy the discourse of globalization and the urge to comply with the demand for exoticism in the Western mainstream literary market.

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Marceau, Lawrence E., Donald Jenkis, Lynn Jacobsen-Katsumoto, et al. "The Floating World Revisited." Eighteenth-Century Studies 28, no. 2 (1994): 260. http://dx.doi.org/10.2307/2739204.

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16

Bernar, G., and S. Kurylo. "ISHIGURIAN LANGUAGE IN THE NOVELS “AN ARTIST OF THE FLOATING WORLD” AND “THE REMAINS OF THE DAY”." International Humanitarian University Herald. Philology, no. 67 (2024): 8–11. http://dx.doi.org/10.32782/2409-1154.2024.67.2.

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17

Dan, Huang, and Zhong Jingdong. "On The Idealized Image and Japanese Moral Narratives: A Case Study of an Artist of the Floating World." International Journal of Social Science and Human Research 05, no. 06 (2022): 2265–69. https://doi.org/10.5281/zenodo.6669656.

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An Artist of the Floating World by Kazuo Ishiguro is set at the end of World War II. It reveals the psychological trauma caused by the war, the self-help method adopted by the characters to heal themselves, concerning “idealized images” and Japanese moral narratives, which are consistent with the narrative ways adopted by the contemporary Japanese government to deal with the negative effects of war. The novel creates a “positive image” by means of morality and memory interweaving, half true and half false, avoiding the serious and taking the light to demonstrate the “mainstream memory” which is more acceptable to himself and the public. In dealing with the moral conflicts of war trauma, the protagonist of An Artist of the Floating World creates idealized image through using Japanese moral narratives to shape and strengthen it.When his moral conflict, his idealized image, and his real self can not be reconciled, the house and pub provide him a stage to escape from reality, to hypnotize himself through his own achievement, to ignore his own impact on the war, to reshape his heroic image with Japanese heroic narrative. For the reader, through the repetition and emphasis of the prosperous and the modified description of the house and Kawakami’s Pub, Ono’s career and contribution are also enhanced, his own achievements are exaggerated, and militarism behaviors are blurred so as to make the effect of diverting the reader’s attention from Ono’s sins that urge war outbreak, add fuel to the destruction caused by the war which is highly s similar to the application of the Yasukuni Shrine in current Japanese political strategy. On the basis of examining the contents mentioned above, which reflect the nation’s way of coping with the war trauma from the perspective of individuals, this study attempts to help people better understand the continuity and complexity of the negative effects of war. Meanwhile, it hopes that the Japanese government can transmit the negative information of war more objectively so as to have a clearer and more reasonable identity.

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Im, Eun-young. "A Narrative of Desire Hidden in Memory: A Reading of Kazuo Ishiguro’s An Artist of the Floating World." JOURNAL OF HUMANITIES STUDIES 121 (December 31, 2020): 241–63. http://dx.doi.org/10.46346/tjhs.121..11.

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19

Bareiß, Moritz. "Kazuo Ishiguro’s Authoritarian Narrators: An Artist of the Floating World, The Remains of the Day, Never Let Me Go, and the Authoritarian Personality." Zeitschrift für Anglistik und Amerikanistik 67, no. 4 (2019): 393–409. http://dx.doi.org/10.1515/zaa-2019-0029.

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Abstract This essay examines how Kazuo Ishiguro’s narrators – namely, those of his novels An Artist of the Floating World, The Remains of the Day, and Never Let Me Go – are all variations of one central theme: the authoritarian personality. By drawing on the findings of the eponymous study by Theodor W. Adorno et al., it analyses the role of the narrators’ respective upbringings in the formation of their authoritarian predisposition as well as how their authoritarian tendencies later manifest themselves in their conduct. The way these tendencies – or the limitations imposed by them on the narrators’ imagination – also manifest themselves aesthetically in the narrative discourse further allows a comparison to Hannah Arendt’s analysis of Adolf Eichmann in Eichmann in Jerusalem: A Report on the Banality of Evil.

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20

Enina, Ivetta A. "ARTISTIC FEATURES OF THE NORTHERN “WHITE NIGHT” MOTIF IN THE LANDSCAPES OF ALEXANDER BORISOV AND LOUIS APOL." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (2021): 77–87. http://dx.doi.org/10.36340/2071-6818-2021-17-5-77-87.

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The article examines the peculiarities of the color and light atmosphere of the phenomenon of white night in the Far North in the seascapes of the Russian and Northern European art. Attention is drawn to the period from the second third of the 19th century to the first quarter of the 20th century, when scientific and artistic exploration of the Arctic begins to take place on a regular basis. The article shows that the motive of the luminous night at the turn of the century appeared in connection with the appeal of artists to the study of natural contrasts of the Far North. Owing to the comprehending of the monotonous northern landscape, the palette of paintings was enriched with cold light shades of a lightair environment, the artists caught its special glow in the reflections in the water, ice floes and on the snow cover. The article mentions works of art by K. A. Korovin, V. A. Serov, V. V. Perepletchikov, N. V. Pinegin, A. A. Rylov and A. N. Benois, created during their participation in polar expeditions in late XIX and early XX centuries. Attention is drawn to the fact that the painters are branching out from marine pictorial art towards the study of special natural phenomena, such as images of light and dark polar nights, the northern lights, floating ice, fogs and snowy shores. It is carried out an art analysis and comparison of the works of the Russian “artist of eternal ice” Alexander Borisov and the Dutch “winter artist” Louis Apol, who were the first to depict such a phenomenon as a white night in the Far North. But their artistic interpretation of this phenomenon differs. A. Borisov perceives the North as a kind of “living” space in his own experience of figurative-symbolic comprehension of the world order, but at the same time does not lose touch with his realistic painting manner. And L. Apol impartially captures the surrounding nature, remaining in the principles of the features of compositional construction, which are characteristic of late romanticism. The European painter prefers muffled coloring, while on the canvas of the Russian artist, the paints literally ring and glow.

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Scanlan, Margaret. "Mistaken Identities: First-Person Narration in Kazuo Ishiguro." Keeping Ourselves Alive 3, no. 2-3 (1993): 139–54. http://dx.doi.org/10.1075/jnlh.3.2-3.03mis.

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Abstract Contemporary theorists tend to agree on the death of the subject and therefore, it seems, on the death of the first-person realistic novel. Novels like David Copperfield and Jane Eyre seem like extended metaphors for humanism itself-the outmoded view that human beings are the center of their world, that they can know themselves, that their psychology and moral character develop con-sistently, and that they are largely responsible for the courses their lives take. In two recent first-person novels, An Artist of the Floating World (1986) and The Remains of the Day (1989), Kazuo Ishiguro explores such assumptions, providing us with narrators whose selves do seem to be socially constructed and consequently decentered and unstable. Although Ishiguro fully understands and displays the appeal of posthumanist models of the subject, he ends by suggesting that a self no longer author of itself is a self in search of authority. (Cultural criticism, literary criticism)

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22

Campbell, Hugh. "Artists of the Floating World: SANNA, Niedermayr and the Construction of Atmosphere." Architectural Design 78, no. 3 (2008): 92–95. http://dx.doi.org/10.1002/ad.681.

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23

Lyubeeva, Svetlana Vasilievna. "“Silent Generation” Portrait in the Novels by K. Ishiguro “A Pale View of Hills” and “An Artist of the Floating World”." Filologičeskie nauki. Voprosy teorii i praktiki, no. 11 (November 2021): 3349–52. http://dx.doi.org/10.30853/phil210540.

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Saeed Alamri, Dawla. "The Remains of Empires in Kazuo Ishiguro’s The Remains of The Day." Arab World English Journal For Translation and Literary Studies 6, no. 2 (2022): 26–42. http://dx.doi.org/10.24093/awejtls/vol6no2.2.

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This paper aims to explore how Kazuo Ishiguro has found a position of enunciation away from the conflicting sentiments of otherness between the deeply rooted traditions of both Japan and England. With a particular focus on Ishiguro’s third novel, The Remains of the Day (1989), the paper highlights the shift of the scene from Japan in his first two novels, A Pale View of Hills and An Artist of the Floating World to a purely English setting in The Remains of the Day. Drawing on the postcolonial theoretical framework, the study examines Ishiguro’s literary production grapples with universal themes. It offers ways to question the ‘national greatness’ of both empires as represented through Japanese and British voices while narrating their personal histories and traumas. The main contribution of this study lies in extending arguments on the postcolonial engagement of Ishiguro’s The Remains of the Day, by focusing on his demythologization of both Eastern and Western Empires. The paper concludes that Ishiguro’s ‘fictional’ metamorphosis serves to subvert imperial landscapes, and convert them into mythical metaphors to approach universal themes and worlds, while simultaneously finding his own voice and territory.

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Rusu, Iris. "The Poetics of Trauma, Time, and Memory in Kazuo Ishiguro’s Early Novels." East-West Cultural Passage 24, no. 1 (2024): 133–44. https://doi.org/10.2478/ewcp-2024-0008.

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Abstract Kazuo Ishiguro’s adherence to high modernist principles of composition is well documented: critics such as Patricia Waugh, Barry Lewis, Mark Currie, Yugin Teo, and Jason Tougaw have identified (high) modernist thematic and stylistic traits in his fiction. This article discusses Ishiguro’s first two novels, A Pale View of Hills (1982) and An Artist of the Floating World (1986), arguing that his concern with traumatic memories and time is deeply rooted in the high modernist tradition. In both novels, the issues of collective and individual trauma and memory lead to cognitive displacement, the merging of memory with fantasy, and the bending of time. By employing the methodology and terminology of trauma studies, I aim to unpick not only Ishiguro’s treatment of themes such as guilt, confusion, and unhomeliness, but also a narrative strategy that draws openly on the displacements, lyricism and unreliability that are shown to result from traumatic experiences and the conscious mind’s inability to confront them.

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Trimarco, Paola. "The Extremities of Literature: Traumatic Memory in Two Novels by Kazuo Ishiguro." Text Matters: A Journal of Literature, Theory and Culture, no. 13 (November 27, 2023): 195–209. http://dx.doi.org/10.18778/2083-2931.13.11.

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Drawing on Michel Foucault’s description of literature as being from the outside, Catherine Malabou explains that only literature can give us access to the inconceivable space occupied by traumatic experiences. How a literary text opens such a space, one on the extremity of experience and literature itself, involves an understanding of trauma as a neurobiological wound. In this essay I will argue that what Malabou refers to as neuro-literature and her plastic reading of texts provide useful additions to current critical approaches to two of Kazuo Ishiguro’s novels that address traumatic memories. Literary critics have approached the theme of traumatic memory in Ishiguro’s work from psychological positionalities. Using psychology, like neurobiology, already suggests that a literary work can give us access to traumatic experiences. A fuller understanding of traumatic memories as manifested by Ishiguro’s writing is here viewed through the lens of neurobiology which considers the plasticity of the brain and a plastic reading of these literary texts. This paper explores two narratives driven by traumatic memories: Ishiguro’s An Artist of the Floating World (1986) and When We Were Orphans (2000), both of which address the long-term effects brought on by the trauma of war and loss.

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Gardner, Richard, and Makoto Ueda. "Light Verse from the Floating World: An Anthology of Premodern Japanese Senryu." Asian Folklore Studies 59, no. 2 (2000): 328. http://dx.doi.org/10.2307/1178926.

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Clinton, Daniel. "Line and Lineage." Nineteenth-Century Literature 73, no. 1 (2018): 1–29. http://dx.doi.org/10.1525/ncl.2018.73.1.1.

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Daniel Clinton, “Line and Lineage: Visual Form in Herman Melville’s Pierre and Timoleon” (pp. 1–29) This essay examines Herman Melville’s reflections on form, line, and perspective in his novel Pierre (1852) and his poems on art and architecture in Timoleon (1891), a late book of verse partly inspired by his tour of the Mediterranean during 1856–57. I argue that Melville arrives at his understanding of literary form through the language of optical perspective, particularly the terms of “foreshortening” and “outline.” I compare Melville’s figurative conception of outline with the artistic theories and practices of William Blake, George Cumberland, John Ruskin, and the artist John Flaxman, whose illustrations of Homer and Dante feature prominently in Pierre. Widely circulated as engravings by Tommaso Piroli and others, Flaxman’s clean-lined drawings fascinate Melville because they emphasize implied narrative rather than optical verisimilitude. Melville responds to a romantic discourse that positions “outline” on the conceptual boundary between sense-perception and free-floating thought, as a mediating term between competing notions of art’s truth. In both his fiction and poetry, Melville’s reflection on the materiality of pictures doubles as a reflection on the materiality of thought. The formal features of visual art suggest the workings of the mind as it flattens unconscious possibilities and disparate truths into a manageable picture of the world.

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Anderson, Crystal S. "The Afro-Asiatic Floating World: Post-Soul Implications of the Art of Iona Rozeal Brown." African American Review 41, no. 4 (2007): 655. http://dx.doi.org/10.2307/25426983.

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Ando, Hideyuki, Tomofumi Yoshida, and Junji Watanabe. "“Save YourSelf!!!” — An Externalized Sense of Balance." Leonardo 46, no. 3 (2013): 286–87. http://dx.doi.org/10.1162/leon_a_00578.

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Using a galvanic vestibular stimulation interface that can affect the sense of balance, the authors devised an interactive experience that deals with the subject of identity in modern society. The participant wears the interface and walks while holding a bowl of water on which a figurine is floating. Since the figurine is linked to the interface, it serves as an externalized metaphor of the user's sense of balance. This experience provides an opportunity to observe the relationship between the individual self and the outer world with a broader framework.

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Sosnowska, Monika. "NECROPHELIA AND THE STRANGE CASE OF AFTERLIFE." Studia Anglica Posnaniensia 48, no. 2-3 (2013): 103–23. http://dx.doi.org/10.2478/stap-2013-0010.

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ABSTRACT Drawing on Allan Edgar Poe’s provocative statement that “The death ... of a beautiful woman is, unquestionably, the most poetic topic in the world” (1951: 369), I will focus on the pivotal role of Shakespeare’s Ophelia in attesting to this assertion. Ophelia’s drowning is probably the most recognizable female death depicted by Shakespeare. Dating back to Gertrude’s “reported version” of the drowning, representations of Ophelia’s eroticized death have occupied the minds of Western artists and writers. Their necrOphelian fantasies materialized as numerous paintings, photographs and literary texts. It seems that Ophelia’s floating dead body is also at the core of postmodern thanatophiliac imagination, taking shape in the form of conventionalized representations, such as: video scenes available on YouTube, amateur photographs in bathtubs posted on photo sharing sites, reproductions and remakes of classical paintings (e.g. John Everett Millais), and contemporary art exhibitions in museums. These references will demonstrate that new cyber story - digital afterlife - is being built around the figure of Shakespearean Ophelia, unearthing the sexual attraction of the lifeless female body.

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Utami, Hadawiyah Endah. "Proses Kreativitas dalam Penciptaan Tari Srimpi Pudyastuti." Acintya Jurnal Penelitian Seni Budaya 15, no. 1 (2023): 20–31. http://dx.doi.org/10.33153/acy.v15i1.4857.

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This research is an experimental study of creative process issues in the creation of the Srimpi Pudyastuti dance, the aim of which is to reveal how creative practice ideas of traditional dance are developed by artists with a background in creativity in the cultural and performing arts realms. The method used is a qualitative research method with a choreographic approach. Data collection, observation, literature study and interviews. The results of the study show that the Srimpi Pudyastuti dance, in its creative process, uses a combination of the concepts of working on the dance movements of the Surakarta Style and Yogyakarta Style which have been stylized into new forms of movement. The creation was inspired by the realities of life that are happening all over the world, namely the Covid-19 pandemic and the stagnation in the development of the group dance genre, especially the srimpi dance. In the creative process, motion exploration is considered to form space and rhythm as well as the findings of the motions that characterize Srimpi Pudyastuti with her vocal movements using a lot of gliding (floating) motions.Keyword: srimpi pudyastuti, creativity, creative process

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Spencer, Susan. "Saikaku Steers a Course: Negotiating Celebrity Status as an Author in Edo-period Osaka, 1684–86." Studies in Eighteenth-Century Culture 53, no. 1 (2024): 7–20. http://dx.doi.org/10.1353/sec.2024.a918556.

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Abstract: Ihara Saikaku first achieved celebrity in his native city of Osaka as a prolific, if not always consistent, composer and critic of haikai no renga (linked-verse poetry). Later, his ukiyo-zōshi prose narratives set in the "floating world" of Japan's licensed pleasure quarters and chōninmono accounts of everyday urban life were bestsellers that lifted him to stardom. His collaboration with the most famous ukiyo-e artists of his day, Hishikawa Moronobu and Yoshida Hanbei, cemented his position as one of the most important authors of the Genroku era, one of the most prolific periods in Japanese literary history. Yet Saikaku's path to fame was by no means assured, and the course of his early career was shaped by his reactions to censorship, piracy, and market demands. This essay describes pivotal episodes that determined the course of his work during the crucial years of 1684–86, including his famous linked-verse marathon performance in front of Osaka's Sumiyoshi shrine, the pirated Edo edition of his The Life of an Amorous Man , and his ongoing responses to the Tokugawa shoguns' censorship as reflected in his books Five Women Who Loved Love and Twenty Cases of Filial Impiety in Japan .

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Callaghan, Aedan. "Quantifying acoustic performance and embodied carbon of acoustic solutions for mass timber buildings: Comparing common approaches around the globe." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A127—A128. http://dx.doi.org/10.1121/10.0023008.

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As mass timber continues to increase in popularity as a building method to shifting away from high embodied carbon concrete structures to utilize wood as a renewable and lower embodied material. As whole building life cycle assessments (LCA) become more essential in meeting environmental emissions targets and qualifying for sustainability linked financing, quantifying the embodied carbon of both the structure and all other elements is necessary. The acoustic challenges of mass timber have been well documented and studied in previous works with a range of solutions now commonly utilized. Like most elements of construction, regionality results in different techniques being more popular and practical in different parts of the world. This work will compare the airborne and structure borne sound transmission and associated embodied carbon of four common acoustic designs for mass timber construction: floating concrete toppings, isolated board and batten floor systems, isolated dry floor linings, and raised access floors.

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Lipina, Victoria I., and Glib V. Lipin. "“THE BURIED GIANT” BY KAZUO ISHIGURO: THE POSTMODERN DILEMMA OF REMEMBRANCE AND FORGIVENESS." Alfred Nobel University Journal of Philology 2, no. 22 (2021): 113–21. http://dx.doi.org/10.32342/2523-4463-2021-2-22-9.

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The article focuses on the study of the seventh novel “The Buried Giant” (2015) of the Nobel Prize laureate Kazuo Ishiguro with regard to the problems of remembrance and forgiving that are central to the ethics of memory. Disputes about this novel go both in his country and abroad. The novel was translated into Ukrainian (2018), although the integrated study of the artistic nature of this iconic work has not appeared yet. The goal of our work and the tasks dictated by it is to analyze the artistic idea of the novel in the context of modern ethical and philosophical discourse on memory and forgiveness, which pervades Ishiguro’s works, starting from his first “Japanese” novels centered on the unnamed loss. The interest in memory as ethical issue has recently inspired different branches of the Humanities. The phenomenology of memory and oblivion was considered in the works of S. Radson “Memory and Methodology”, the collective monograph “Memory theory”, in the works of P. Ricoeur, M. Foucault, J. Baudrillard, J. Derrida, P Nora, H. White, M. Merleau-Ponty, and others, and resonated in literature of the second half of the twentieth century after the tragic events of the Second World War. This theme preoccupied Ishiguro throughout much of his writings, starting with his “Japanese” novels “A Pale View of the Hills” and “An Artist of the Floating Worlds”. The goal of the paper determines the need to use two methodologies and methods ‒ a historical and literary study in combination with semantic and poetological analysis of the text, which is based on the post-structuralist methodology, a new awareness of the depth and inexhaustibility of the literary text when it starts to contradict itself. In the novel, the role of memory in the life of individuals is artistically problematized. Memory is revealed not as the cornerstone of human morality and truth, but as a possible choice between healing forgetting and difficult forgiving, that are also inherent in the lives of humanity. The plot is centred on artistic deployment of an insoluble dilemma addressed to us as well: memory or oblivion, and maybe forgiveness? But how is it possible to forget the severe massacre in the past? Does the reconciliation with the terrible past equal treachery and betrayal? In this novel, in contrast to the previous ones, the writer finds a different generic decision, connecting the chivalrous plot and heroic epic with a saturated philosophical-humanistic agenda. This artistic strategy is noticeably different from his former novels. Its meaningful and indirect suggestive narrative unveils the most difficult issues of human responsibility in the history. The tragedy of both the historical and personal experience of mankind suggested this idea for the novel.

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Screech, Timon. "A Response to Paul Berry's Review of the Book,Sex in the Floating World: Erotic Images in Japan, 1700–1820(University of Hawai'i Press, 1999)." Archives of Asian Art 56, no. 1 (2006): 107. http://dx.doi.org/10.1484/aaa.2006.0007.

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Pinnington, Noel John. "An Anthology of Premodern Japanese Senryu. Light Verse from the Floating World. By Makoto Ueda. pp. ix, 270. New York, Columbia University Press, 1999." Journal of the Royal Asiatic Society 11, no. 3 (2001): 417–19. http://dx.doi.org/10.1017/s1356186301420347.

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Chung, Stephanie Po-yin. "Floating in Mud to Reach the Skies: Victor Sassoon and the Real Estate Boom in Shanghai, 1920s–1930s." International Journal of Asian Studies 16, no. 1 (2019): 1–31. http://dx.doi.org/10.1017/s1479591418000335.

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AbstractThe historical waterfront of Shanghai known as the Bund, one of the most impressive architectural landscapes in Asia, was described in the 1930s inFortunemagazine as having “the tallest buildings outside the American continent; the biggest hoard of silver in the world” and being “the cradle of new China”.1At a time when the US economy was in ruins and much of China was besieged by civil war, Shanghai's foreign concessions provided a safe haven for Chinese and foreign investors. With the influx of hot money, Shanghai experienced an unprecedented building boom. Notable among these real estate developers was Sir Ellice Victor Elias Sassoon (1881–1961, hereafter Victor Sassoon) who transferred much of his wealth from India to Shanghai and then transformed the Shanghai skyline. Inspired by American skyscrapers, Sassoon decided to build the first skyscraper in Shanghai, which would also be the first in the Eastern hemisphere, even though Shanghai's muddy ground had never supported a building of that height before. This article documents how the evolution of treaty port architecture in China owed much to Victor Sassoon. Its innovations – from the advent of skyscrapers, with their Art Deco style and mixed-use function, to the engineering methods and financial arrangements that built them – bore Sassoon's stamp. As will be seen, Sassoon's experiment paid off handsomely.

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Mark, Reet. "Endel Kõksi abstraktsetest maalidest." Baltic Journal of Art History 11 (November 30, 2016): 125. http://dx.doi.org/10.12697/bjah.2016.11.07.

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The artist Endel Kõks (1912–1983) is a member of the same generation of Estonian art classics as Elmar Kits and Lepo Mikko. After Kits’s and Kõks’s debut at the exhibition of the Administration of the Cultural Endowment’s Fine Art Foundation (KKSKV) in Tallinn in 1939, the three of them started to be spoken about as the promising Tartu trio. In 1944, Endel Kõks ended up in Germany as a wounded soldier, while Kits and Mikko remained in Estonia. The Kõks’s works that have surreptitiously arrived in his homeland are incidental and small in number. Thus, without any proof, an image developed or was developed of him in Soviet-era art history as a mediocre painter and especially as a weak abstractionist, which is somewhat prevalent even today. I would dispute this based on the conclusions that I reached when helping to organise the exhibition of exile Estonian art between 2008 and 201142 and Endel Kõks’s solo exhibition between 2011 and 201343; conclusions that I have supplemented with the opinions expressed by exile Estonian art historians and artists.In 1951 Kõks moved to Sweden. Paul Reets has highlighted the years between 1952 and 1956, and assumed that these were difficult years due to the contradictions he faced. According to Reets, one obstacle was influence of the Pallas on Kõks’s painting style, which was conservative and adhered to the trends of Late Cubism. According to both Eevi End and Paul Reets, Kõks painted his first abstract painting in 1956 Rahutus (Restlessness) according to the former and Konflikt (Conflict) according to the latter). A black-and-white photo exists of Restlessness, which is slightly reminiscent of Pollock, and this is not the same work that P. Reets refers to. They both note that this was a convincing and mature abstraction not a searching for form, and as Reets states, Kõks had severed himself from the Pallas.The abstract paintings created between 1956 and 1960 – Kompositsioon (Composition) (1958), Rõõmus silmapilk (Joyful Moment) (1959) and others – are constructed on the impact of a joyfully colourful palette and lines, and demonstrate a kinship with the abstract works of Vassili Kandinsky. There is also a similarity to Arshile Gorky, whose works he may have seen at the exhibition of modern American art in Stockholm in 1953.Kõks’s transition into a pure form of abstraction occurred in 1963. Reets has characterised this as a “the most wondrous year that one can expect to see in an artist’s life. Not an unexpected year, but one that was unexpectedly and extremely rich when it came to his works.” The artist started to create series of works, of which the best known is undoubtedly Elektroonika (Electronics), which was comprised of 36 sheets. According to Kõks, he developed the need and idea to create the series while listening to experimental music, watching experimental films and thinking about nuclear physics. Created with a glass printing technique, or vitreography, each work is unique due to the post-printing processing, paint dripping, spraying and additional brushstrokes and images. Of course, all this alludes to Jackson Pollock.In 1962, Kõks painted the abstract composition Astraalne (Astral), which depicts a red circle and bent violet rectangle next to it on an interesting yellowish-brown surface that creates a rough effect. Using only these two symbols, the artist creates a sense of floating in cosmic space. Starting in 1964–1965 this style gradually came to dominate his work, and in was in this style that Kõks created the works that express the greatness of his talent and the charm of the “shaper of nature forms” in the purest sense.The construction of these works is brilliantly simple, and comprised of symbols and images placed on a relatively uniform surface. The nervous brittleness and rapid movement have disappeared from the paintings. The mood is calm and reveling. There is a monumental feel to many of the pictures. Masterful, delicate colour combinations triumph. And as time goes on, the more abundant and interesting the texture becomes. Eevi End believes that Kõks was influenced by Ellsworth Kelly, Kenneth Noland and other representatives of the school of Hard-edge painting that other influential direction operating in American abstractionism during the 20th century. Kõks himself has defined his abstract paintings as biomorphic abstraction, characterized by a free formalism, spatiality and atmospherics (Arshile Gorky, William de Kooning, Mark Tobey, Mark Rothko, and Jackson Pollock.)Kõks’s abstraction that features intellectual and cognizant images is totally the opposite of Elmar Kits’s excellent and spontaneous colourful abstraction. Kits remains true to the Pallas colour tradition; Kõks breaks out of it. Kõks feels secure painting abstract pictures and enjoys the game, which cannot be said of the thoroughly abstract works of Lepo Mikko or Alfred Kongo. Those who doubt this statement should remember that, in order to provide an assessment of Kõks’s abstract pictures, one must have seen them in Europe, the U.S. and Canada. Conclusions cannot be drawn based exclusively on the works in Estonia. As an abstractionist, he is in no way weaker than his contemporaries, just very different and the determination of superiority is a matter of taste. Endel Kõks’s greatness lies in the fact that he was able to fit with what was happening in world art (which many exile artists could not); he experimented with new directions and finally put together something new for himself, and thereby developed Estonian art as a whole.

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Watson, Ian. "Letter to an Editor: the Yesterday and Today of Poland's Teatr Ósmego Dnia." New Theatre Quarterly 21, no. 1 (2005): 52–60. http://dx.doi.org/10.1017/s0266464x04000338.

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Teatro Ósmego Dnia, the Theatre of the Eighth Day, has for forty years flourished in Poland, never as part of the established theatre, but as one of what Eugenio Barba calls the ‘floating islands’ – those companies which live as much as make theatre, and form part of an informal international circuit of like-minded though distinct and individual groups. Ian Watson here shapes his own memories of the group in the form of a letter to one of NTQ's co-editors, with whom he has shared experiences of Polish theatre, and in particular the work of Eighth Day, relating their history to the changing political and economic environment in Poland, and the company's relationship with the outside world. Ian Watson, who is a Contributing Editor of New Theatre Quarterly, teaches at Rutgers University, Newark, where he is the Acting Chair of the Department of Visual and Performing Arts. He is author of Towards a Third Theatre: Eugenio Barba and the Odin Teatret (Routledge, 1993) and of Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002). He edited Performer Training across Cultures (Routledge, 2001), and has published numerous articles on theatre in scholarly journals.

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Knowles, Ric. "Gogmagogs, Galpao, Corcadorca and the Gate: Nation, Representation, and Women in Shorts." Canadian Theatre Review 96 (September 1998): 89–95. http://dx.doi.org/10.3138/ctr.96.014.

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In his “Greetings from the Artistic Director,” published in every program for the 1998 du Maurier World Stage in Toronto, Don Shipley accurately characterized the 1998 edition of the Festival as “incredibly diverse.” That diversity, however, tended towards diversity of form and style – which ranged from the respectful performance of a contemporary classic through the premiere of a new Canadian opera, from the recontextualization from rural Brazil to Queen’s Quay Terminal of Brazilian folk street theatre, renewed rural naturalism, and new urban realism to stand-up comedy, a classical-music variety act, and a floating improvisational “theatre jukebox” – rather than towards other kinds of far-ranging representation of (say) women or of racial or sexual difference. This is perhaps not surprising at an international theatre festival, where the only kinds of community that can easily be constructed tend to be communities of interest in theatre as a form, where the festive element derives from theatre-bar and ticket-line conversations about technical accomplishments and formal innovations, and where productions that may have considerable site-specific social relevance at home tend to be read nationalistically, as representing their countries of origin as sites of expatriate pride.

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42

Hazleton, Lesley. "Floating World." Women's Review of Books 12, no. 10/11 (1995): 5. http://dx.doi.org/10.2307/4022155.

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Baxter, Rachel. "Floating world." New Scientist 235, no. 3139 (2017): 26–27. http://dx.doi.org/10.1016/s0262-4079(17)31620-2.

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Chotiros, Nicholas P., Gaye Bayrakci, Oliver Sanford, Timothy Clarke, and Angus Best. "Shear speed in Arctic ice and underwater acoustic reflection." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A124. http://dx.doi.org/10.1121/10.0022995.

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The underwater reflected sound wave under a sheet of Arctic ice contains information about the ice including thickness and mechanical properties. The ideal case of a perfectly flat ice floe floating above the water may be modeled using the OASES wavenumber integration code. A spectrogram of the acoustic response contains features related to the compressional and shear waves. The resonance associated with the shear wave speed in the ice is particularly distinctive. In the real world, the ice-water interface is not perfectly smooth. The finite element code SPECFEM2D is used to simulate the response of ice with a rough ice–water interface. It is particularly well suited to this problem since it accounts for all orders of multiple reflections. It shows the effects of fine-scale roughness on the acoustic response. Depending on the severity of the roughness, it may enhance or diminish the acoustic features related to the properties of the ice. [Work supported by the U. S. Office of Naval Research, Code 32 Grant N00014-20-1-2041 (N. Chotiros). G. Bayrakci and A. Best were funded by the UK Defence and Security Accelerator, Grant ACC2016927. The Texas Advanced Computing Center provided the high-performance computing resources.]

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Kodirov, Alijon Abdumannonovich. "UNIVERSAL PRINCIPLES IN THE WORKS OF KADZUO ISHIGURO, AN ENGLISHMAN FROM JAPAN." Innovations in Science and Technologies 1, no. 1 (2024): 71–75. https://doi.org/10.5281/zenodo.10815802.

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In the article, the description of universal principles in the life of Kazuo Isiguro, who is considered one of the most influential writers of world literature of the 21st century, and a scientific approach to them using the example ofthe writer's famous works were presented. Kazuo Isiguro, winner of the 2017 Nobel Prize in Literature, has been described as "a writer who, in his novels of great emotional power, exposes the void beneath our false connection to the world." The article contains quotes from the writer's works.

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Eisen, Erica X. "The Floating World." Pleiades: Literature in Context 37, no. 1 (2017): 134–39. http://dx.doi.org/10.1353/plc.2017.0042.

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Taylor, Heidi. "Deep Dramaturgy: Excavating the Architecture of the Site-Specific Performance." Canadian Theatre Review 119 (June 2004): 16–19. http://dx.doi.org/10.3138/ctr.119.004.

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Four-hundred-and-fifty people have gathered in a sculpture court. Small folding stools on the perimeter of the spacefill quickly. I am whispering requests to the artistic staff and catching the cast’s eyes to let them know we are ready. H and Shannon are tied together with rope, back-to-back on a six-foot high platform. They are both tall, and one faint moment could send them both crashing into the marble floor. I check that the safety ladder is close to them and give the go to Joe and Jeff on sound and lights. Images floating around me cohere and break apart, like clouds or nebulae. The sinking of the Titanic is buoyed up by a tap dancer in flapper garb, glowing at the audience as she spins in double time. We are wrenched back into the modem world with a pulsating dance that all thirty-seven actors whip into, an accumulating, repetitive movement that surges through the space, till the fragile wooden plinths look in danger of toppling. After the frenzy, a meditative text on the idea of home, and a grand finale of Vegas dancers, who break down like wind-up toys, littering the stage with their peacock feathers as they die in a parody of Swan Lake. The final text – echoing over the dancers’ bodies, the stilled tableaux – is doubly resonant for the company members who know it is their last performance together.

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Pollack, Barbara. "Avatar vs. Artist." Screen Bodies 7, no. 1 (2022): 177–82. http://dx.doi.org/10.3167/screen.2022.070111.

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Climbing, climbing the circular staircase of a decaying art deco apartment house, a throwback to Old Shanghai’s grandeur in the 1930s, I felt like I was stepping back in time. It was fall of 2011, and I was accompanied by a twenty-seven-year-old artist named Lu Yang who led me on this upward trek to a studio. As Lu Yang opened the green door to the space, I was immediately thrown forward from the past to the future. The darkened room was packed with computer monitors flickering with the running text of chatrooms. Aquariums, filled with dead frogs floating in formaldehyde, gave off an eerie green light. There were no sketches or paintings or anything like traditional art making. What an awakening! I realized that this was the kind of art I had been searching for on my trips to China since 2004. I was looking for an artist whose work reflected the enormous upheaval of the Reform era, the influx of Western goods, the possibilities of the internet, and the shock to the psyche that these changes had wrought. Lu Yang completely fit the bill.

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Camper, Fred. "Floating Worlds: Amy Jenkins's Dream Videos." PAJ: A Journal of Performance and Art 24, no. 3 (2002): 87–91. http://dx.doi.org/10.1162/15202810260186693.

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Marranca, Bonnie. "The Artist in the World." PAJ: A Journal of Performance and Art 39, no. 1 (2017): 1–2. http://dx.doi.org/10.1162/pajj_e_00358.

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