This thesis focuses on Nagai Kafū’s lighting representations (both natural and manmade light) in the first decade of twentieth century, exploring how Kafū manipulates light, as well as the light...Show moreThis thesis focuses on Nagai Kafū’s lighting representations (both natural and manmade light) in the first decade of twentieth century, exploring how Kafū manipulates light, as well as the light-shadow contrast in his urban-based texts selected from different time. The analysis follows a timeline divided in roughly three parts: debut years before his journey abroad (1900-1903), journey in America and France (1903-1908) and few years after returning to Japan (1908 and after). Given the technological gap between Japan and the West in modern period and thus reflected in Kafū’s writing, knowledge of the innovations in lighting technology will be mentioned when necessary. This thesis argues that the drastic transition of his lighting passion from manmade light to natural light after his returning to Japan in 1908 shall be examined as a significant message. As an urban writer, his transition in light preference not only reveals his critical thinking of Japan’s modernization after experiencing what had been completed in the West, but also gives his vision in terms of what contributes to a livable modern city in which the inhabitants are deeply resonated with the urban fabrics, especially in a spiritual sense. Last but not the least, to some extent, the transition in lighting representations could be considered as a presage of the writer’s stylistic reverse few years later.Show less
To encounter a flower, a snowflake, or a moon in haiku it is not uncommon. A great amount of haiku follow a rule, or an aesthetic preference, that the elements of nature should be present in its...Show moreTo encounter a flower, a snowflake, or a moon in haiku it is not uncommon. A great amount of haiku follow a rule, or an aesthetic preference, that the elements of nature should be present in its form with a 5-7-5 syllables arrangement. All of these preferences were challenged in the Secondary Art Debate (daini geijutsu ronsō 第二芸術論争) after WWII. What poetry should do was beyond this form of art. This discourse was brought into heated discussion and opposed by numerous contemporary haiku poets. Nakamura Kusatao 中村草田男(1901-1983), one of the founding haiku poets of the so-called “the Humanity-pursuit group” (ningen tankyūha 人間探求派), pioneered in this debate. He publicly refuted the condemnation of haiku as a “secondary art” and dedicated his life to strengthen his position in this debate, and dedicated his entire career to the modernization of haiku. The central research question of this thesis is how Nakamura envisage the modernization of twentieth-century haiku. In the further discussion, Nakamura’s attitude towards modern haiku is to be discussed. The context that apparently stimulated Nakamura to explore innovation in haiku will be provided in the first chapter, where two major debates in his life are the center of discussion. To understand the general directions that his innovations took, his haiku theory will be introduced in the following chapter. In the third chapter, the analysis will go through his major work from the form to the content to examine the differences between Nakamura’s work and the traditional work before him.Show less
In the late 18th century, strict political reforms in the Japanese government were enacted, which had widespread consequences. This essay considers the cultural influence of these Kansei Reforms of...Show moreIn the late 18th century, strict political reforms in the Japanese government were enacted, which had widespread consequences. This essay considers the cultural influence of these Kansei Reforms of the late 18th century on Japanese comic literature, kibyoshi in particular. Focusing on the works of author Santo Kyoden, it examines if and to what extent this short-lived popular genre was changed by these political developments.Show less
Deze scriptie onderzoekt het genre van de 'meisho zue', een type publicatie dat vooral in de Edo-periode (1603-1868) werd gepubliceerd en waarin afbeeldingen van en commentaren op "beroemde...Show moreDeze scriptie onderzoekt het genre van de 'meisho zue', een type publicatie dat vooral in de Edo-periode (1603-1868) werd gepubliceerd en waarin afbeeldingen van en commentaren op "beroemde plaatsen" ('meisho') staan. De vraag die in deze scriptie centraal staat, is wat 'meisho zue' van Akisato Ritō (data onbekend, actief circa 1772-1830) ons kunnen vertellen over hoe mensen in de Edo-periode hun omgeving beleefden. Deze scriptie doet dit op basis van aan de ene kant een bespreking van het werk van Robert Goree over 'meisho zue' en aan de andere kant de overweging in hoeverre het werk van Michel de Certeau aangaande 'touring' versus 'mapping' toepasbaar is op 'meisho zue' van Ritō. Deze scriptie betuigt dat mensen in de Edo-periode afbeeldingen in 'meisho zue' van Ritō beleefden in termen van 'ruimte'. 'Meisho zue' van Ritō legden derhalve de menselijke beleving van het landschap vast. 'Meisho zue' van Ritō functioneerden daardoor niet als 'kaarten' die 'plaats' representeren. Dit is een wezenlijk verschil van moderne kaarten die juist 'plaats' representeren. De oorzaak voor dit verschil ligt hem in het feit dat er bij 'meisho zue' van Ritō sprake is van een streven naar een vroegmodern realisme dat zich uit in precisie, terwijl er bij moderne kaarten sprake is van een streven naar een modern realisme waarbij nauwkeurigheid centraal staat. Deze conclusie betekent dat wij tot een heroverweging moeten komen over hoe de notie van 'kaart' functioneerde in vroegmodern Japan in verhouding tot die van de Moderne Tijd.Show less
This paper proposes another axis of understanding for the Minamata case study by analyzing the philosophical intricacies of the Japanese culture in contrast with Japan's politics and industrial...Show moreThis paper proposes another axis of understanding for the Minamata case study by analyzing the philosophical intricacies of the Japanese culture in contrast with Japan's politics and industrial goals. Instead of offering a technical solution to such a far-reaching event, it looks at the hidden potential of Japanese cultural practices in transforming the way politics consider the priorities of human development and how local communities’ expectations can be met when their lifestyle is taken into consideration. In that sense, the Minamata incident reveals to be more than a local disaster but also to a larger extent the illustration of a societal and philosophical discordance.Show less
This study will first analyse the historical background of Shakespeare in China, which begun with the introduction of the English author as a storyteller during the late Qing dynasty (1640-1911),...Show moreThis study will first analyse the historical background of Shakespeare in China, which begun with the introduction of the English author as a storyteller during the late Qing dynasty (1640-1911), followed by the publication of official translations in Chinese at the beginning of the twentieth century , the posterior abrupt tragic decrease of the studies under the Communists and its complete death with the beginning of the Cultural Revolution (1966-1976) , which did not allow Shakespeare to resuscitate until the end of the 70s . The second chapter will be focused on the methods of translations and the theories put forward between the end of the 19th century and the beginning of the 20th century in China, while the third chapter of this study aims at observing how Chinese translators overcame the historical, grammatical and cultural differences between Shakespeare and China, how they rendered the most important traits of the Shakespearean works in Chinese. To conclude, the fourth chapter will be concentrated on the comparison between the original English version of the famous drama of “Romeo and Juliet” and its Chinese.Show less
Over the recent years Japanese animation has seen the rise of a new form of the science fiction genre, namely technoludic anime, or anime that involves video game elements. Commentative technoludic...Show moreOver the recent years Japanese animation has seen the rise of a new form of the science fiction genre, namely technoludic anime, or anime that involves video game elements. Commentative technoludic anime, the main focus of this research, are part of a critical discourse on techno- culture and its future. This genre of anime taps into themes such as gender identity, nationalism, societies of control and the disintegration of ontological boundaries while using video game portrayal and video game play as the main focus of their narrative. It also either tends to smear or beautify video games through technophobic or technophilic themes which are supported by binary opposition such as lived experience and fantasy, and the real and the virtual. Considering the popularity of video games, it is no surprise that commentative technoludic anime have not only gained recognition in "digitally native" Japan, but also resonate with viewers on a global scale. Kawahara Reki's Sword Art Online has gained massive attention and can be seen as one of the icons of this commentative technoludic anime genre. Through its technophilic-tinted themes the series stimulates philosophical thinking by proposing a different understanding of virtual worlds and ontological boundaries. Throughout its story a young otaku recluse heightens the intensity of his life by moving into a new virtual exterior, finding its beauty along the way. The story's proposition, one that accentuates the merits, beauty, and realness of the virtual, is strengthened through the addition of life-like AI characters, exciting adventure, a beautiful environment and most surprisingly, death. Furthermore, even though Sword Art Online represents its virtual world as a video game, its world lacks the characteristics of play, showing that the virtual world Sword Art Online revolves around isultimately, not really a video game, but a sensational replacement for life in the real world.Show less
Een onderzoek naar de relatie tussen populaire prentkunst, geschiedkunde, en de Keizer van Japan in het vroege stadium van de Meiji-periode (1868-1912). Het onderzoek richt zich op de prentenreeks...Show moreEen onderzoek naar de relatie tussen populaire prentkunst, geschiedkunde, en de Keizer van Japan in het vroege stadium van de Meiji-periode (1868-1912). Het onderzoek richt zich op de prentenreeks Dainihon shiryaku zue 大日本史略図会 (Beknopte Geïllustreerde Geschiedenis van het Grote Japan, 1879-1880) van prentkunstenaar Tsukioka Yoshitoshi 月岡芳年 (1839-1892).Show less
What makes EarthBound (1994) such a landmark game, is its position as one of the first video games that consciously used the communicative potential of the medium. It did this to reflect on the...Show moreWhat makes EarthBound (1994) such a landmark game, is its position as one of the first video games that consciously used the communicative potential of the medium. It did this to reflect on the conventions of the video game medium, specifically the Japanese Roleplaying Game (JRPG) genre. This thesis analyzes EarthBound’s satire and situates it into a concrete paradigm, namely that of postmodernism.Show less
This thesis describes the development of the phenomenon of yōkai in Japan throughout time and investigates the influence of nationalism on this phenomenon using the oni as a case study.
Een studie naar de wijze waarop de Japanse animator Miyazaki Hayao in zijn tekenfilms werelden weet te realiseren die zowel fanatasievol als realistisch zijn te noemen.
