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
This thesis identifies the ideals of risshin shusse ("Rising in the world") as portrayed within Meiji period sugoroku boardgames targeted at elementary school students. It compares the actual...Show moreThis thesis identifies the ideals of risshin shusse ("Rising in the world") as portrayed within Meiji period sugoroku boardgames targeted at elementary school students. It compares the actual realities of children at the time to that which is portrayed in the sugoroku and places the primary sources in their historical context.Show less
This thesis explores the motivations of the protagonists of two love suicide puppet plays written by Japanese playwright Chikamatsu Monzaemon: Sonezaki Shinjū and Shinjū Ten no Amijima. Using...Show moreThis thesis explores the motivations of the protagonists of two love suicide puppet plays written by Japanese playwright Chikamatsu Monzaemon: Sonezaki Shinjū and Shinjū Ten no Amijima. Using sociological and (socio)psychological theories - primarily the socioemotional theory of suicide by Seth Abrutyn and Anna Mueller - it seeks to expand on the psychological level of interpretation that traditionally tends to use the giri/ninjō dichotomy. The thesis concludes that the protagonists are motivated by love and suicide suggestion to die together, although the suicide itself is rather the result of a perceived lack of control, the failure of social performance and the influence of negative social emotions.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
Okinawa’s position within Japan has been historically regarded with ambivalence in Japanese mainstream discourse, which is particularly visible in Japanese cinema featuring the prefecture. Such...Show moreOkinawa’s position within Japan has been historically regarded with ambivalence in Japanese mainstream discourse, which is particularly visible in Japanese cinema featuring the prefecture. Such films have been predominantly produced by mainland Japanese directors, and have often been criticized for depicting Okinawa in stereotypical and essentializing ways. This thesis places Paradise View, the understudied first feature film of Okinawa-born independent director Takamine Gō, in the above-mentioned context and focuses on the film’s thematic and narrative analysis to put it forward as a case study of a film that actively evades and challenges such representations.Show less
This thesis discusses what motivates people in Japan to buy sacred charms (omamori), through the lens of the Japanese ritual worldview. They are traditionally used as a means for protection or as a...Show moreThis thesis discusses what motivates people in Japan to buy sacred charms (omamori), through the lens of the Japanese ritual worldview. They are traditionally used as a means for protection or as a source of beneficial power. In recent decennia, consumer culture has permeated the world of religion in Japan and as a result distributors of religious tokens (temples and shrines) have started to focus more on the visual appeal of charms.Show less
This paper examines the localization practices in Japanese video games and anime in the last thirty years and the effects thereof, taking the Pokémon franchise as case study. Findings seem to...Show moreThis paper examines the localization practices in Japanese video games and anime in the last thirty years and the effects thereof, taking the Pokémon franchise as case study. Findings seem to suggest an increase in the importance of localization, as it developed from the translation of text to the restructuring of narrative and alteration of visual content. Multiple video games and anime have seen significant revisions in their adjustment to the Western market, but none of them have received as much modifications as Pokémon. The methods used in localizing Pokémon have transformed over the years, and its ever-expanding global significance shaped the content of future releases in both Japan and the West.Show less
It is well known that Meiji era woodblock print designers Kobayashi Kiyochika 小林清親 (1847-1915) and Toyohara Chikanobu 豊原周延 (1838-1912) fought during the Meiji restoration on the side of the...Show moreIt is well known that Meiji era woodblock print designers Kobayashi Kiyochika 小林清親 (1847-1915) and Toyohara Chikanobu 豊原周延 (1838-1912) fought during the Meiji restoration on the side of the Tokugawa shogunate. However, because the majority of academic secondary literature on prints tends to focus on the Meiji government's grand 'modernisation' project rather than dissenting voices, it has not been widely discussed to what extent their history as Tokugawa loyalists is expressed in their oeuvre. This thesis attempts to take a fresh approach by reexamining the early works by Kiyochika and Chikanobu. A thorough scrutiny of both visual object and historic context will show that there is more to the Meiji print than meets the eye.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
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 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
In this new millennium, the world is facing many drastic changes. Technology has revolutionized our lives and we are still trying to grasp the essence of this new age. Many traditions are fading,...Show moreIn this new millennium, the world is facing many drastic changes. Technology has revolutionized our lives and we are still trying to grasp the essence of this new age. Many traditions are fading, one of them being the practice of oral storytelling, used in pre modern societies by common folks to amuse themselves and to educate children at the same time. This essay analyzes the transition from traditional storytelling to mass communication, and its implications, through the case study of Japanese snake and dragon lore. The dragon, a well established symbol of Eastern Asian cultures, is the mythical evolution of a snake, considered to belong to the same species. The two animals are treated, however, in very different ways: the first is venerated as a kami , a god, while the second, even though object of worship too, is so feared that speaking about it is still considered a taboo. During the last century oral storytelling practice has been fading out, overpowered by the attractiveness of new medias. However, while the traditional practice is slowly dying out, storytelling itself is, I argue, just changed media. This essay will look into modern portraying of snakes and dragons, comparing tradition with new media. Through the example of Oscar winner movie Spirited Away (2001) and especially through the character of the white dragon Haku, it will be shown how anime and manga can represent a new way for the transmission and preservation of folk tales and beliefs. The director, Hayao Miyazaki, created the movie with the precise aim of educate children about Japanese values and traditions. Manga and anime can be considered a new form of storytelling, accessible simultaneously by anybody and anywhere in the world, that at the same time crystallizes a set of stories and beliefs.Show less
