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Lei, Shuko. "Hiroshige et ses oeuvres." Paris, INALCO, 1992. http://www.theses.fr/1992INAL0015.
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Baker, Jennifer Helen. "The Eight Views: from its origin in the Xiao and Xiang Rivers to Hiroshige." Thesis, University of Canterbury. Humanities, 2010. http://hdl.handle.net/10092/4256.
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This thesis focuses upon the artistic and poetic subject of the Eight Views of the Xiao and Xiang, from its origin in the Xiao-Xiang region in the Hunan province of China throughout its dispersal in East Asian countries such as Korea and Japan. Certain aesthetics and iconography were retained from the early examples, throughout the Eight Views’ transformation from the eleventh to the nineteenth century. The subject‟s close associations with poetry, atmospheric phenomena and the context of exile were reflected in the imagery of the painting and the accompanying verses. This thesis will discuss the historic, geographic and poetic origins of the Eight Views, along with a thorough investigation into the artistic styles which various East Asian artists employed in their own interpretations of the series. Furthermore, the dispersal and diaspora of the subject throughout East Asia are also investigated in this thesis. The work of Japanese artist Ando Hiroshige will serve as the concluding apogee. The Eight Views of the Xiao and Xiang is an important East Asian artistic subject in both poetry and painting and contains many pervasive East Asian aesthetics.
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Nguyen, Hoang hau. "L'influence de la musique asiatique sur la composition chez Claude Debussy." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040160.
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L’interférence et interaction Europe-Asie sur le plan culturel et artistique qui s’est épanouie durant le XIXe siècle a ouvert une nouvelle réserve de nouveaux matériaux pour la création littéraire et artistique. De cet échange chacun des deux continents a retiré pour lui-même des éléments qui lui étaient bénéfiques aux points de vue littérature, peinture, musique, architecture, et même religion... La thèse intitulée “Influence de la musique asiatique sur la composition chez Claude Debussy” est entreprise dans le but de rechercher les ingrédients exotiques exploités avec grande délicatesse et sensibilité par Debussy – homme progressiste ouvert aux courants nouveaux, symbole de l’Impressionnisme en musique et surtout grande célébrité pour ses nouvelles limites en timbres. L’analyse d’environ 140 œuvres officiellement publiées de Debussy confirme sa grande réussite dans la mise en œuvre des matériaux musicaux Asiatiques. D’autre part, la thèse se propose aussi de montrer cet autre aspect de Debussy, à savoir qu’il était la somme harmonieuse de l’esthéticisme dans l’art Japonais, de la pureté des échelles traditionnelles, et de la témérité dans l’emploi de timbres nouveaux provenant des instruments AsiatiquesThe cultural and artistic interference and interaction that flowered during the 19th century between Europe and Asia brought a new enormous storage of artistic material at the disposal of European artists. Both continents derived from it materials useful to them in terms of literature, paintings, music, architecture and even religion... The present thesis, “Influence of Asian music on Claude Debussy’s composing”, aims at spotting out exotic materials subtly and sensitively brought into play by Debussy – a progressist spirit open to new trends, symbol of Impressionism in music and, above all, top celebrity for his setting of the new limits for timbres. Analysis of 140 Debussy’s officially published works confirms his success in using Asian materials for his music. Moreover, the thesis also manage to bring into light this other aspect of Debussy, as the final and successful product from the blend between Japanese estheticism, purity of the traditional scales and boldness in the use of new timbres from Asian instruments
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Petko, Lukas. "From Dameisho to Meisho." Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-170826.
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Seen from abroad, Tokyo appears as a huge, vibrant metropolis where 21st-century Japan meets the traditional side of the country. Tokyo´s skyline is a diverse jumble of traditional houses and shrines, and modern architecture from skyscrapers of glass to 1970´s living capsules. Since the beginning, Tokyo has had great prerequisites for creating a city with amazing urban environment. Water was the first reason for people to settle down in Tokyo Bay. During Edo period (1603 – 1867), Tokyo was always described as a picturesque city with well-planned hydrology and a harmonic relationship with nature. With its canals full of water, it was a city comparable to Venice. The distribution and exchange relied almost entirely on water transport. With the expansion of the city, the water system had to be upgraded, which led to creating a complex network of waterways. Unlike in Western countries, where the economic, social and cultural life of the city developed around rather formal places as plazas and squares, in Japan, the lifeblood of the city developed in close connection with the water and nature. These places, also known as “meisho” (名所, lit. “famous places”) used to be linear open structures such as streets, river shores and bridges. During the transformation of Tokyo into a modern capital, the city cut many ties with the past. The unused canals suddenly became redundant and started belonging to the “wrong” side of the city. By the 1980s, many of the waterways were so polluted that the government began filling them up or covering them with elevated highways in preparation for the 1964 Tokyo Olympics. The modernization and its transformation also meant that most of the network of “meisho” and greenery have disappeared. “From dameisho to meisho” is inspired by series of woodblock prints “One Hundred Famous Views of Edo” (名所江戸百景, Meisho Edo Hyakkei) completed by the Japanese artist Hiroshige Ando (1797–1858), depicting a matrix of famous public spaces in Tokyo. My project examines the possibilities of recasting “meisho”, a spatial representation in Japanese culture, into a new, modern context via editing different layers of the city and its fabric. It explores linear, thread-like spaces such as Edo waterways, its transformations roads, as well as recently built elevated highways in order to search for contaminations and new collaborations, unexpected conditions and create new, green urban stitches. As one of the tackling tools, the project also looks at demographic trends shaping Japan and benefits from aging society and shrinking Japanese population. Last but not least I investigate ways of graphical reinterpretation of the series of woodblock prints using Tokyo and its new “meisho” spaces as a rolemodel.
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Huber, Thomas Christian. "36Cl-Messungen zur Erklärung der Neutronen-Diskrepanz von Hiroshima." [S.l. : s.n.], 2002. http://deposit.ddb.de/cgi-bin/dokserv?idn=967123526.
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Murray, Philippa, and pmurray@swin edu au. "The Floating World - An investigation into illustrative and decorative art practices and theory in print media and animation." RMIT University. Arts and Culture, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080506.143949.
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Considered under the theme 'The Floating World', the aim of this research project was to create a written exegesis and a series of artworks, primarily in the form of digital animation and illustration, which investigate decorative and illustrative art practices and their historical lineages. Particular emphasis was given to investigating the links between contemporary decorative/illustrative art practice and the aesthetics and psychology of the Edo period in Japan (C17th - C19th), in which the term 'The Floating World' was used to describe the city of Edo (old Tokyo). The writing concerned with The Floating World is comprised of the following chapters: history; concepts; aesthetics; contemporary adaptations of Ukiyo-e; and gothic romance and associated genres. The outcomes of my Masters program represent a sustained exploration of decorative and illustrative art practice and theory, and incorporate experimentation with associated genres such as magic realism, gothic romance, the uncanny, iconography, surrealism and other metaphorical and abstract representational practices. More broadly, my Masters project is an investigation, both theoretical and practical, into the way drawing and illustration have been a process through which to (literally) give shape to hopes and fears, and to describe understandings of self and the world. I am particularly interested in exploring how, through the act of abstraction and the use of metaphor and decoration, a capacity to 'speak the unspeakable' and 'know the unknowable' are somehow enabled. For example, when contemporary Japanese artist Takashi Murakami decorates Edo-inspired screens with a colourful arrangement of morphing cartoon mushrooms, he conjures up a startling and complex poetic space that juxtaposes traditional Japanese aesthetics and philosophy with the hyper-consumerist characters and ethos of Disneyland, as well as disquieting references to the mushroom bombs that dropped down on Hiroshima and Nagasaki from US planes. A similarly complex space is enacted by contemporary US artist Inka Essenhigh: her oversized canvases seem like sublime Japanese-inspired screens but a closer inspection reveals that the decorative motifs are actually dismembered body parts morphed together to create a savage and compelling metaphor for contemporary America that is all the more disarming for being perf ormed in a seemingly innocuous illustrative style. My research will draw on these examples but will endeavour to create a series of artworks that are particular to an Australian context. This interests me particularly in a time when, as a nation, we appear to be confounded about what it means to be Australian: as a contemporary artist I am interested in how we represent ourselves as a nation, and in exploring the motifs and attributes that we consider to be ours.
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Nakagawa, Cristiane Izumi. "Hiroshima: a catástrofe atômica e suas testemunhas." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-06112014-155200/.
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Ao longo das duas Guerras Mundiais, observou-se o rompimento da humanidade com as normas de conduta inauguradas pelo Iluminismo, legitimando a violência como algo intrínseco à sociedade moderna. Essa mudança de valores foi acompanhada pelo crescente investimento científico e tecnológico, que atingiu um elevado desenvolvimento durante o século XX e trouxe, como um de seus resultados, os maiores genocídios realizados pelos Estados autoritários em nome de seus interesses políticos e econômicos. A barbárie nos leva a considerar um elemento para a reflexão: as testemunhas. Essas corporificam a necessidade de um resgate da humanização, da retomada dos valores morais perdidos com a banalização da violência. Assim, o testemunho confronta a história e demonstra que o desenvolvimento tecnológico não é sinônimo de desenvolvimento humano. Pelo contrário, permitem questionar a verdadeira intenção das nações que, em busca de hegemonia, destroem maciçamente populações inteiras. Nesse contexto, emergem as seguintes questões: o que é o testemunho e qual a sua importância para a sociedade moderna? O que levou, historicamente, ao surgimento das testemunhas? Qual o contexto histórico que proporcionou o desenvolvimento da bomba atômica? Por que houve a necessidade, por parte das nações em guerra, de exterminarem milhares de pessoas, principalmente civis? Qual a consequência do rompimento das normas de civilidade pelas duas Guerras Mundiais? Para responder a essas perguntas, investigou-se o Museu Memorial da Paz de Hiroshima no que diz respeito a sua exposição permanente, seus objetivos no que se refere à luta contra o esquecimento da catástrofe atômica e à coleta de testemunhos. Após esse primeiro momento da pesquisa, procedeu-se ao estudo do contexto histórico que culminou nas atrocidades cometidas ao longo das duas Grandes Guerras, os resultados dos extermínios em massa para a sociedade moderna e, finalmente, o estudo sobre o trauma e o testemunho em relação aos sobreviventes do bombardeio atômico de HiroshimaThroughout the two World Wars, a disruption between humankind and the standards of conduct inaugurated by the Enlightenment was observed, legitimizing violence as something intrinsic to modern society. This change in values was followed by the increasing scientific and technological investment, which reached a high development during the twentieth century and brought, as one of its results, the greatest genocides carried out by the authoritarian States on behalf of their political and economic interests. The barbarism leads us to consider an element for reflection: the witnesses. They embody the need for redemption of humanization and the resumption of the moral values, both lost in the trivialization of violence. Thus, the testimony confronts history and shows that technological development is not a synonymous for human development. On the contrary, they allow us to question the true intent of the nations that, in their quest for domination, massively destroy entire populations. In this context, the following questions arise: what is the testimony and what is its importance to modern society? Historically, what had led to the appearance of witnesses? What is the historical context that provided the development of the atomic bomb? Why was there the need, by the nations at war, to exterminate thousands of people, mainly civilians? What is the consequence of breaking the rules of civility by the two World Wars? To answer these questions, the Hiroshima Peace Memorial Museum was investigated regarding its permanent exhibition, its goals regarding the struggle against forgetting the atomic disaster and the gathering of testimonies. After this first stage of the research, it was proceeded the study of the historical context that culminated in the atrocities committed during the two Great Wars, the results for modern society of the mass exterminations and finally, the study of trauma and testimony regarding the survivors of the Hiroshima atomic bombing
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Yurita, Makito. "Metahistory and memory making/remaking the knowledge of Hiroshima's atomic bombing /." Diss., Connect to online resource - MSU authorized users, 2008.
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Courmont, Barthélémy. "Pourquoi Hiroshima? : la décision d'utiliser la bombe atomique /." Paris : L' Harmattan, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016718784&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Almeida, Angela Prada. "A escrita da luz Hiroshi Sugimoto." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284394.
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Orientador: Roberto Berton de AngeloTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta Tese de Doutorado tem como objetivo analisar obras do fotógrafo japonês Hiroshi Sugimoto. Na introdução, são analisadas cinco séries de fotografias do artista: Dioramas, Portraits, Architecture, Theaters e Seascapes. A seguir, discussões sobre as séries Dioramas e Portraits são aprofundadas. O ponto de partida para os capítulos são as considerações do próprio fotógrafo sobre as obras. Nas análises, paradigmas do discurso fotográfico e características próprias da fotografia inter-relacionam-se com particularidades da cultura japonesa. No capítulo "Dioramas", são abordados: a invenção dos Dioramas no século XIX, a construção dos Dioramas nos Museus de História Natural, visão monocular, perspectiva artificial e representação realista e, por fim, o superlativismo realista na fotografia do Diorama dos Gorilas e o congelamento do tempo nas fotografias dos Dioramas. Já no capítulo "Portraits", discussões sobre a relação entre realismo e fotografia são retomadas, a partir da fotografia de retratos de pessoas falecidas. O discurso de articulação do real que permeia a representação de retratos é realizado à luz da presentificação de sujeitos históricos - membros da monarquia inglesa e monjes japoneses. As séries Dioramas e Portraits são formadas por múltiplas instâncias de representação, com características de formação fotográficas. As fotografias e idéias imagéticas criadas por Sugimoto sugerem conceitos teóricos e suscitam análises sobre construções culturais: maneiras de conceber a visualidade que nos cerca, a partir do olhar do fotógrafo
Abstract: This doctorate thesis aims to analyze works of Japanese photographer Hiroshi Sugimoto. In the introduction five series of photographs of the artist: Dioramas, Portraits, Architecture, Seascapes and Theaters are analyzed. Discussions about the series: Dioramas and Portraits are deepened. The starting point in the chapters are the photographer's own words about the series. In the analysis, paradigms of photographic discourse and characteristics of photography inter-relate to the particularities of Japanese culture. In the chapter "Diorama", the following topics are discussed: the invention of the Diorama in the nineteenth century, the construction of the Dioramas in the Museum of Natural History, monocular vision, artificial perspective, realistic representation, and finally, the superlative realistic representation of the Gorilla Diorama and the act of freezing time in the photographs of Dioramas. In the "Portraits" chapter, discussions about realism and photography are analysed in interrelation to portrait photography of deceased people. The sensation of reality that pervades the representation of portraits is examined in the light of materialization of historical figures - members of the English monarchy and Japanese monks. The Dioramas and Portraits series are composed of multiple representational instances, based on photographic formation characteristics. The photographs and imagery made by Sugimoto suggest theoretical concepts and raise photographic analysis of cultural constructions, ways of conceiving the visual world that surrounds us, from the view point of the photographer
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Multimeios
Doutora em Multimeios
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Ayukawa, Michiko Midge. "Creating and recreating community, Hiroshima and Canada, 1891-1941." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ32731.pdf.
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Navarro, Montaniel S. "The atomic bombing of Hiroshima a reasonable and just decision /." Connect to Electronic Thesis (CONTENTdm), 2010. http://worldcat.org/oclc/650835034/viewonline.
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Brum, Alessandra Souza Melett. "Hiroshima Mon Amour e a recepção da critica no Brasil." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284097.
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Orientador: Antonio Fernando da Conceição PassosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O primeiro longa-metragem de Alain Resnais Hiroshima Mon Amour foi lançado em circuito comercial no Brasil em 1960, ano seguinte a sua estreia na França. O filme causou grande impacto entre a crítica especializada motivando inúmeros artigos em jornais e revistas. É em torno do amplo e rico material produzido pela crítica brasileira, motivada pelas inovações estéticas introduzidas pelo cineasta francês que essa pesquisa se desenvolve. A recepção crítica a Hiroshima Mon Amour irá refletir as transformações pela qual o cinema passava na época, adquirindo importância nos debates em torno do fazer e do pensar cinematográfico.
Abstract: The first Alain Resnais feature film, Hiroshima Mon Amour was issued in commercial circuit in Brazil in 1960, the year following their debut in France. The film has caused great impact on the specialized criticism motivating many articles in newspapers and magazines. This research embrace the abundant material produced by the Brazilian critic, which was motivated by aesthetic innovations introduced by French filmmaker. The criticizing reception to Hiroshima Mon Amour will reflect the changes that went through the cinema at the time, gaining importance in debates around the making and cinematographic thought.
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Multimeios
Doutor em Multimeios
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Juslin, Kajsa. "Remembering Hiroshima : Hadashi no Gen from a Trauma Theory Perspective." Thesis, Högskolan Dalarna, Japanska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30777.
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In this thesis, a semi-autobiographical manga, Hadashi no Gen, written by Nakazawa Keiji, is analyzed through the lens of trauma theory. By using trauma theory, I hope to shed light on in what way trauma might affect narrative techniques and in what way the narrative techniques convey trauma and emotion to the reader. For the analysis “Trauma Fiction” by Anne Whitehead was chosen and categories based on her findings were made. The categories are: Intertextuality, repetition, dispersed and fragmented narrative voice, memory place, choiceless choice and fantastic. I discovered that all these themes, observed in other trauma fiction as well, are more or less used as a narrative tool in Hadashi no Gen. Further I observed that by conveying traumatic events and emotions through a combination of images and language is a powerful tool and might even be more effective than standard prose text
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Madella, Alessandra. "The woman condition: love and technology in Hiroshima mon amour." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1245.
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This dissertation is a rhetorical study of the critical reception of the French film Hiroshima mon amour (1959; dir.: Alain Resnais; screenplay: Marguerite Duras). My main argument is that the themes of love and technology followed a dialectical progression in the critical reception of Hiroshima mon amour. They were important and politically charged in the first essays on the film at the turn of the Sixties. But they lost momentum and became more neutral due to the academization of Film Studies and to the rise of semiology that privileged linguistic abstractions. The return of the themes of love and technology in the Eighties signals the search for renewed forms of commitment. However, this commitment "through abstraction" is also predicated on forgetting. In fact, a different understanding of commitment does not allow remembering that Hiroshima mon amour was also a protest against the first French atomic test in Algeria and its colonial implications. My dissertation examines the limits of what can be said through different paradigms of criticism and commitment through the careful study of the rhetorical situation of each critical act. Jacques Derrida's twin concepts of aimance and of the peut-être guide my research. I examine how we can think Hiroshima mon amour on the background of the paradoxical communities that invented new forms of political participation in postwar France. The early debate on the representation of "mad love" in Resnais' film signaled a concern for the way in which modern technology undermined the binary oppositions between war/peace, civilian/military, and friend/enemy. The paradoxical communities that originated from this realization opened to rhetorical articulations that united people with no communal party membership. Derrida's politics of aimance carries on this reflection on the peut-être by targeting the traditional view that envisions the political as limited to the public sphere and tend to exclude women. By contrast, Hiroshima mon amour empowered women because it tapped into the dark territories of the private in order to show that modern technology had colonized the intimate and daily life. Hence, women critics could acquire a strong political voice from the oppression of the private.
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Stone, Daisy. "Le Traumatisme Dans Hiroshima, Mon Amour: Une Analyse Des Souvenirs." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1390.
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In this thesis, the different aspects of trauma are discussed at length while looking at the French New Wave Film directed by Alain Resnais, Hiroshima, Mon Amour. Through this film, I discuss how language shapes testimonies of traumatic events and if this shaping of language can possibly be seen in the film itself. Furthermore, I discuss if there is merit to looking at a work of art as an accurate depiction of historical trauma.
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Comotti, Francesco <1980>. "La ricostruzione di una voce : Hiroshima e Nagasaki nella letteratura giapponese." Doctoral thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3060.
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The atomic bombings of Hiroshima and Nagasaki have been the subject of many works of literature in Japan. Despite the considerable amount of prose and poetry, and the pivotal quality of the two events in Japanese history, literature dealing with the atomic bomb has been considered a minor production on the literary scene after the end of the Second World War. Specifically, it has been neglected on various negative assumptions: lack of literacy, political ambiguity, pre-war nostalgia, and so on. Through the analysis of the works of three authors, Ota Yoko, Inoue Mitsuharu and Oba Minako, we will demonstrate that the works of literature that are part of the body of works concerning the atomic bombings on the two Japanese cities, are actually very complex and feature unique meditations on the meaning of the events, at many levels (historical, social, ethical).I bombardamenti atomici di Hiorshima e Nagasaki sono stati il soggetto di molte opere di letteratura in Giappone. Nonostante la quantità considerevole di prosa e poesia, e l'aspetto epocale dei due eventi nella storia giapponese, la letteratura che s'è occupata della bomba atomica è stata considerata una produzione minore nella scena letteraria dopo la fine della Seconda guerra mondiale. In particolare, è stata liquidata sulla base di vari preconcetti negativi: mancanza di letterarietà, ambiguità politica, nostalgia del periodo prebellico, e così via. Attraverso l'analisi delle opere di tre autori, Ota Yoko, Inoue Mitsuharu e Oba Minako, dimostreremo quanto le opere di letteratura che fanno parte del corpus letterario riguardante le bombe atomiche sulle due città giapponesi siano in realtà complesse e presentino riflessioni uniche sul significato degli eventi sotto molti aspetti (storico, sociale, etico).
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Courmont, Barthélémy. "L'utilisation de la bombe atomique à Hiroshima : éléments de décision et alternatives." Paris 7, 2005. http://www.theses.fr/2005PA070005.
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Soixante ans après la première utilisation de la bombe atomique, le nom d'Hiroshima continue de symboliser la destruction de toute forme de vie, et incarne la technique mise au service de la barbarie humaine. Le paradoxe de la ville japonaise totalement détruite réside dans ce qu'elle représente tant la fin d'une période que le commencement d'une autre. Certains célèbrent ainsi Hiroshima comme l'événement qui mit fin à la plus meurtrière de toutes les guerres de l'histoire. D'autres au contraire voient dans la capacité de feu de la nouvelle arme l'élément qui conduira l'homme à sa propre destruction. La bombe larguée le 6 août 1945, surnommée "Little Boy", est ainsi perçue tant comme une arme de paix que comme le plus formidable engin de guerre jamais pensé et utilisé. Cette thèse analyse les différents éléments qui justifièrent l'utilisation de l'arme suprême, les alternatives proposées, et les conditions géopolitiques dans lesquelles ce choix de politique étrangère et, à de nombreux égards, interne, prit place. Sont répertoriés ici les débats qui précédèrent l'utilisation, les manœuvres diplomatiques de Tokyo et de Moscou, mais surtout les raisons qui écartèrent progressivement toutes les options retenues pour mettre fin à la guerre contre le Japon, et désignèrent l'utilisation de la bombe atomique, avec toutes les conséquences que cela supposait, comme le choix le plus judicieux. Il s'agit donc de voir dans quelle mesure cette arme, si elle fut à de nombreux égards inutile pour mettre un terme aux hostilités, ne pouvait pas ne pas être utilisée par les Etats-UnisSixty years after the first use of the atomic bomb, the reference of Hiroshima remains a symbol of the destruction of life, and the science to serve human barbarian purpose. The paradox of the Japanese city is that it both represents the end of an era and the beginning of another one. Some celebrate Hiroshima as the event that ended the most terrible war in human history. Others consider that the power of the new weapon will lead -the humanity to its own destruction. The bomb used on August 6, 1945, known as “Little Boy”, is then both considered as a peace weapon and the most powerful and efficient killing tool ever produced. This PhD thesis analyses the different elements that justified the use of the supreme weapon, the proposed alternatives, and the geopolitical context in which this foreign policy and, to some extent domestic politics, choice was made. The debates that took place before the use, the diplomatic manoeuvres from both Tokyo and Moscow are developed here, as well as the reasons that justified the choice of the atomic bomb among the different proposals, and the consequences for world history. One of the objectives is to determine whether this weapon, which was useless in ending the war against Japan, could not having been used by the US
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Oliveira, Isabel Lopes Almeida Nery de. "Jornalismo Literário: Aspetos Cognitivos da Receção." Doctoral thesis, Instituto Superior de Ciências Sociais e Políticas, 2021. http://hdl.handle.net/10400.5/23422.
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Tese de Doutoramento em Ciências da ComunicaçãoAtravés da leitura de um texto Noticioso e outro de Jornalismo Literário procuramos demonstrar, recorrendo a instrumentos das Neurociências e das Ciências Sociais, os efeitos da comunicação jornalística nos indivíduos. Fizemo-lo utilizando ferramentas psicofisiológicas, como medidas das emoções, perceção de Dor e Batimentos Cardíacos. Mas também utilizando medidas de autorrelato, como inquéritos por questionário. A metodologia utilizada proporcionou a recolha de respostas autorrelatadas, através de questionários depois da leitura, mas sobretudo a recolha de respostas inconscientes, através de medidas psicofisiológicas, como a avaliação das emoções, do batimento cardíaco e da perceção de dor antes, durante e depois da leitura. Além disso, a resposta a questionários de medida das emoções e de características psicológicas permitiram avaliar a receção individual aos textos jornalísticos propostos. A revisão de literatura desenvolve o conceito de géneros jornalísticos, com especial enfoque na notícia e na reportagem, e aprofunda as peculiaridades do jornalismo literário. Entende-se que o jornalismo literário recorre sempre ao género reportagem, pelo que se analisam as suas características, tendo em vista o contributo para o jornalismo de profundidade. Os 60 indivíduos da amostra leram um excerto da reportagem Hiroshima, de John Hersey, em formato Noticioso e de Jornalismo Literário, tendo sido sujeitos a várias medidas psicofisiológicas antes, durante e após a leitura. Esta investigação multidisciplinar quase seminal permitiu-nos demonstrar que textos jornalísticos têm, de facto, efeitos, nomeadamente emocionais e psicofisiológicos, sobre os leitores. E que esses efeitos variam com o tipo de texto (Noticioso ou de Jornalismo Literário), mas também com as características psicológicas individuais dos sujeitos da amostra.
By reading a News piece and a Literary Journalism piece, we seek to demonstrate the effects of journalistic communication on individuals, using instruments from Neurosciences and Social Sciences. We did it using unconscious psychophysiological tools, such as measuring emotions, pain perception and heart rate. But also using conscious measures like questionnaire surveys. The methodology selected provided the collection of self-reported responses, through questionnaires after reading, but above all the collection of unconscious responses, through psychophysiological measurements, such as heart rate assessment and perception of pain before, during and after reading. In addition, the response to questionnaires measuring emotions and psychological characteristics allowed us to assess the individual reception of the proposed journalistic works. Our literature review develops the concept of journalistic genres, with a special focus on news and reportage, and deepens the peculiarities of literary journalism. It is understood that literary journalism always resorts to the reporting genre, so its characteristics are analyzed, with a view to contributing to in-depth journalism. The 60 individuals sample read an excerpt from the Hiroshima reportage, by John Hersey, in News and Literary Journalism format, and were subjected to various psychophysiological measures before, during and after the reading. This quasi-experimental multidisciplinary investigation allowed us to demonstrate that journalistic texts pieces do, in fact, have effects on readers, namely emotional and psychophysiological ones. And that these effects vary with the type of text (News or Literary Journalism), but also with the individual psychological characteristics of the subjects in the sample.
N/A
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Shimizu, Priscila Yanagihara. "Shin-hanga e Hiroshi Yoshida: paisagens de uma nova gravura." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-31102018-155822/.
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A presente pesquisa investiga o movimento de gravura moderna japonesa Shin-hanga, que se iniciou na Era Meiji (1868 1912) e foi desenvolvido nas duas eras subsequentes, Taish (1912 1926) e Shwa (1926 1989), em um momento em que o Japão passava por um processo de ocidentalização. Tal contexto histórico é explicado no primeiro capítulo, o qual nos ajuda a entender o desenvolvimento do Shin-hanga e suas relações com o mundo e a arte ocidental, principalmente a europeia. O movimento em si é explicado no segundo capítulo: o seu início, o desenvolvimento e os principais artistas. A paisagem, ou as vistas de lugares, foi o tema escolhido para a análise das imagens. Como exemplo do movimento, destacou-se o artista Hiroshi Yoshida (1876 1950), o qual teve muitas oportunidades para viajar para fora do Japão, tendo a vivência no Ocidente e no Oriente. Yoshida fez pinturas e xilogravuras e utilizou a técnica tradicional japonesa em sua produção, mas também incorporou conceitos ocidentais no estudo de luz, por exemplo. Suas obras foram estudadas estabelecendo comparações com as estampas Ukiyo-e e algumas pinturas impressionistas europeias.The present research investigates the modern Japanese print movement Shin-hanga, which began in the Meiji Era (1868 1912) and was developed in the two subsequent eras, Taish (1912 1926) and Shwa (1926 1989), at a time when Japan underwent a process of westernization. Such a context is explained in the first chapter, which helps us understand the development of Shin-hanga and his relations with the world and Western art, mainly European. The movement itself is explained in the second chapter: its beginning, development and the leading artists. The landscape, or the views of places was the theme chosen for the analysis of the images. As an example of the movement, the highlight is on the artist Hiroshi Yoshida (1876 - 1950), who had many opportunities to travel outside Japan, having experience in the West and East. Yoshida made paintings and prints and used the traditional Japanese technique in his production, but also incorporated Western concepts in the study of light, for example. His works were studied alongside Ukiyo-e prints and some Impressionist paintings by European artists.
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Ernst, Christian. "Marguerite Duras et Alain Resnais : Hiroshima mon amour - la passion de la mémoire." Universität Potsdam, 2006. http://opus.kobv.de/ubp/volltexte/2008/2171/.
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Warner, Carol. "Peace education in Hiroshima : problems of a radical movement in post-1945 Japan /." Title page, contents and introduction only, 1989. http://web4.library.adelaide.edu.au/theses/09AR/09arw279.pdf.
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Gonçalves, Ana Cristina. "Representações de Hiroshima: a problemática da representação a partir de Gen Pés Descalços." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-29052012-153648/.
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A proposta deste trabalho é buscar refletir e compreender como são construídas as representações do horror, em especial de Hiroshima, enfocando o evento violento da bomba atômica a partir da narrativa de Nakazawa Keiji, Gen Pés Descalços, fazendo uma articulação com outras obras que também representam a catástrofe. Para tal, foi realizada uma discussão sobre a possibilidade da escrita da catástrofe e do horror, o discurso histórico e as representações, a questão da memória, história e escrita, das dimensões da construção de si pelo seu autor, as questões políticas e ideológicas que são parte do entorno das representações e, por fim, a questão da possibilidade da experiência com o real.The purpose of this paper is to reflect and understand how the representations about the horror are build, especially of Hiroshima, focusing on the violent event of the atomic bomb from the narrative of Nakazawa Keiji, Barefoot Gen, making links with other works that also represent catastrophe. To this end, a discussion was held about the possibility of writing and the horror of the catastrophe, the historical discourse and representations, the question of memory, history and writing, the dimensions of the building itself by its author, the political and ideological surroundings are part of the representations and, finally, the question of the possibility of the experience with the real.
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Agee, Ellen Leigh. "Hiroshima mon amour and L'Annee derniere a Marienbad: Meaning Conveyed through Cinematic Organization." PDXScholar, 1997. https://pdxscholar.library.pdx.edu/open_access_etds/5210.
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This thesis examines how the cinematic organization of film is used to convey meaning. Hiroshima mon amour (1959) and L'Annee derniere a Marienbad (1961) I two films directed by Alain Resnais, are used as models for this purpose. This thesis argues for a new type of film criticism, one that recognizes the uniqueness of film by adding technical analysis to the literary methods that currently dominate. Traditionally, film criticism has followed two directions: firstly that of the "film reviewer" whose efforts bow to the economic needs of the industry, and secondly the academic or scholarly approach which is based in large part on literary criticism, and falls into two general categories, thematic analysis and interpretive analysis. This thesis proposes that the literary methods which are appropriate for literature are inadequate for film, because of the way cinematographic technique is employed to convey meaning. To this end, the films, Hiroshima mon amour and L'Annee derniere a Marienbad, are analyzed in terms of technique and how technique structures film, as well as in more traditional terms. The evolution of film technology correlates directly with what a director is able to portray on the screen, and so it is appropriate to include in this examination the art-historical context of Hiroshima. mon amour and L'Annee derniere a Marienbad: what came directly before as well as what was happening in literature, art, politics and film technology contemporaneously with these two films. The organization of film not only occurs at a literary or intellectual level, but at a physical or technical level. The intent of this thesis is to implement a model for a third sort of film analysis, an alternative to interpretation-driven criticism, one which includes, in addition to explication and interpretation, the use of film technology as a valid means of comprehending a film. The result of this broader form of analysis is a more accurate understanding of film through the comprehension of the aspects which make it an original art form. The use of specific film technology forms a more balanced and accurate approach to film criticism.
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Slaymaker, Douglas. "Japanese literature after Sartre : Noma Hiroshi, Ōe Kenzaburō, and Mishima Yukio /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11079.
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Lam, Ka-yan, and 林家欣. "Narrating singularity and regionalism: the representation of identity and resistance in Gima Hiroshi's woodblockprints." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48334674.
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This dissertation gives an aesthetic analysis on the selected woodblock prints of the Okinawan artist Gima Hiroshi concurrent with an exploration of the identity politics of the Okinawans. Deconstructing the historical circumstances of the archipelago, the contradictions and predicaments that the islanders have been struggling with from the trade era and annexation period, to the wartime, the U.S. occupation and the reversion to the Japanese state are portrayed in the war prints. With the constitution of a multi-vocal identity, a regionalist identity has been articulated. This regionalism is manifested in the artist’s prints about traditions, customs and everyday life in terms of folk dance, drum playing, craftsmanship, festivities, daily activities, agriculture, residential space and the practices related to nature. Following a thorough discussion of the visual texts is the elucidation of essentialism in contemporary Okinawan studies that identity politics is itself delimiting and institutionalizing in representation. Essentialist representations reinforce the dichotomy of the self/other structure that they can be more detrimental than explicit performative discourses. As a concluding argument, this essay finishes with a proposed alternative to essentialist literature – visual representations. The interpretative potentiality and transformative powers of art serve as a stepping stone for the third party to experience the experience of the Other, which challenges the presumptions imposed by the self/other narrative. In this process, the marginalized can be made visible.published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
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Palmgren, Linnea. "75 år sedan bombningen i Hiroshima : En studie av informationsgrafik med fokus på etik." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-49238.
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The following essay is a thesis in information design with orientation on informative illustration. The purpose of this study is to investigate, based on a given graphic assignment, how to shape an event that is a response to the great big and world-wide event, the bombing in Hiroshima. The purpose of the thesis is to explore how, in an ethical way, the way radiation can be seen on people who was on the scene. The aim of the work is to design a visualization that is ethical and at the same time easily understandable and interesting. This study is done after a graphic assignment assigned from the TT news agency. This graphic shows the effects of the radiation from the atomic bomb in Hiroshima on the population of the city and the magnitude of the consequential damage. The final design was formed by data collection and theories in visual rhetoric and cognition. Methods that have been used are a survey as well as a method for creating ethical visualization described by Katherine Hepworth, a professor of visual journalism. The results of the survey show that in order to create an ethical visualization, one must work close to one's target group. Find out what they have for past experiences and knowledge in the subject you are working on. The choice of manners also affects the feeling of images and how to interpret them.Följande undersökning är ett examensarbete i informationsdesign med inriktning informativ illustration. Denna studie syftar till att utifrån ett givet grafikuppdrag undersöka hur man kan gestalta en händelse som är ett svar på den väldigt stora och världsomställande händelsen, bombningen i Hiroshima. Syftet med examensarbetet är att utforska hur man, på ett etiskt sätt, kan gestalta hur strålningen påverkade människorna på platsen. Målet med arbetet är att utforma en visualisering som är etiskt och samtidigt lätt förståelig och intresseväckande. Denna studie är utförd efter ett grafikuppdrag som är tilldelat från TT nyhetsbyrån. Denna grafik ska redogöra för de effekter som strålningen från atombomben i Hiroshima drabbade befolkningen i staden och hur stora följdskadorna har blivit. Genom datainsamling och teorier inom visuell retorik samt kognition utformades den slutgiltiga gestaltningen. Metoder som har används är enkät samt en metod för att skapa etisk visualisering som är beskriven av Katherine Hepworth. Hepworth är professor inom visuell journalistik. Resultatet av undersökningen påvisar att för att skapa en etisk visualisering måste man jobba nära sin målgrupp. Ta reda på vad de har för tidigare erfarenheter och kunskaper inom det ämnet man jobbar med. Valet av manér påverkar också känslan av bilder och hur man tolkar dem.
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De, Pieri Veronica <1988>. "Letteratura della catastrofe: Auschwitz, Hiroshima e Nagasaki, Fukushima. La parola come veicolo di memoria." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4335.
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Con questa ricerca si intende proporre un' analisi di testi letterari appartenenti alla shinsai
bungaku 震災文学 (letteralmente “letteratura della catastrofe di origine sismica”) e alla jinsai
bungaku 人災文学 (letteralmente “letteratura della catastrofe provocata dall'uomo”) , termini usati
per indicare opere di autori che direttamente o indirettamente raccontano l'esperienza dell'essere
umano di fronte ad eventi traumatici quali una calamità naturale o uno sterminio di massa.
Soprattutto, si intende concentrare l'attenzione sulla posizione assunta dalle vittime nei confronti
della letteratura e il possibile ruolo della parola come veicolo per la trasmissione della memoria.
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Loula, André Lopes. "A “Associação Hibakusha Brasil pela Paz” e os sobreviventes de Hiroshima e Nagasaki no Brasil." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19970.
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André Lopes Loula.pdf: 788536 bytes, checksum: 22f0dd829a381de090e9199e7eb831ef (MD5)Made available in DSpace on 2017-04-10T13:58:29Z (GMT). No. of bitstreams: 1 André Lopes Loula.pdf: 788536 bytes, checksum: 22f0dd829a381de090e9199e7eb831ef (MD5) Previous issue date: 2017-03-30
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The objective of this work is to analyze the trajectory of the Association of the Victims of Atomic Bombs in Brazil, an institution founded in the city of São Paulo in 1984 - 39 years after the nuclear hecatomb of Hiroshima and Nagasaki. Through the analysis of the documentation contained in the collection of the Association and testimonies collected, the work gives visibility to the trajectory of people who survived the events that occurred in Hiroshima and Nagasaki, respectively, on August 6 and 9, 1945. The intention is to understand the role of this institution founded by survivors from the other side of the planet who contributed in Brazil for various reasons. Thus, it is intended to answer the following questions: what did they witness? How did they survive? How was the reconstruction of the city where they lived? Why did they immigrate to Brazil? Why the silence? This last inquiry looks to us for the conviviality with the trauma, one of the main dilemmas of the hibakushas (Japanese word for survivors of the bomb). Memory, the search for identity and the struggle to be recognized by the Japanese government as victims of this hecatomb are the main flags of the group of survivors. To this end, the hibakushas carry out various activities, such as lectures in schools and universities, in order to raise the awareness of younger generations about the risks of nuclear energy. We also tried to understand the events that preceded Hiroshima and Nagasaki. Analyzing the Meiji Era of 1868, modernizationof the land of the rising sun. The cultural change implemented in Japan. The imperialist race in the new world geopolitics, the United States, England, Germany, Japan, Russia, and France, all seeking to change their status quo in search of raw materials and consumers. All these characteristics will lead to 1st War and the 2nd War, which ends with nuclear weapons
O objetivo deste trabalho é analisar a trajetória da Associação da Vítimas das Bombas Atômicas no Brasil, instituição fundada na cidade de São Pauloem 1984 – 39 anos após a hecatombe nuclear de Hiroshima e Nagasaki. Por meio da análise da documentação contida no acervo da Associação e de depoimentos coletados, o trabalhodá visibilidade à trajetória de pessoas que sobreviveram aos eventos ocorridos em Hiroshima e Nagasaki, respectivamente, nos dias 06 e 09 de agosto de 1945. A intenção é entender qual o papel dessa instituição fundada por sobreviventes oriundos do outro lado do planeta que aportaram no Brasil por diversos motivos. Assim, pretende-se responder àsseguintes perguntas: o que presenciaram? Como sobreviveram? Como foi a reconstrução da cidade onde viviam? Por que imigraram para o Brasil? Por que o silêncio? Essa última indagação nos atenta para o convívio com o trauma, um dos principais dilemas dos hibakushas (palavra em japonês que designa os sobreviventes da bomba). A memória,a buscapela identidade e a luta para serem reconhecidos pelo governo japonês como vítimas dessa hecatombe são as principais bandeiras do grupo de sobreviventes. Para tanto, os hibakushas realizam diversas atividades, como palestras em escolas e universidades, a fim de conscientizar as gerações mais novas dos riscos da energia nuclear. Buscamos também entender os acontecimentos anteriores a Hiroshima e Nagasaki. Analisando a Era Meiji,iniciada em 1868, a modernização do país do sol nascente. A mudança cultural implementada no Japão. A corrida imperialista na nova geopolítica mundial. A busca dos Estados Unidos, Inglaterra, Alemanha, Japão, Rússia e França, por mudar seu statu quo, na tentativa de angariar matérias primas e consumidores. Todos esses acontecimentos que levaramàPrimeira Guerra e àSegunda Guerra, que se encerrou com os ataques nucleares
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Watanabe, Tomoyuki, Masaru Miyao, Ryumon Honda, and Yuichi Yamada. "Hiroshima survivors exposed to very low doses of A-bomb primary radiation showed a high risk for cancers." springer, 2008. http://hdl.handle.net/2237/11144.
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MELLO, IOANA CAETANO ALVES PARENTE DE. "INSTANT INFINI: UN REGARD BERGSONIEN DU TEMPS SUR LES PHOTOS DE HIROSHI SUGIMOTO." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13918@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORLa dissertation Instant Infini. Un regard bergsonien du temps sur les photos de Hiroshi Sugimoto a pour but analyser le langage photographique contemporain et sa relation avec le temps à partir de l’œuvre du photographe japonais Hiroshi Sugimoto. Pour cela, le texte aborde le système d’idées du philosophe Henry Bergson et ses concepts de temporalité, mémoire, réalité, conscience, perception et durée. Ce travail entrevoit comment ces deux artistes et chercheurs ont une vision créative du temps, en le libérant des grilles de mesures et de la rationalité. De plus, il aborde également les influences orientales de Hiroshi et sa relation avec l’œuvre de Marcel Duchamp et les minimalistes, augmentant ainsi les possibilités du regard photographique et de l’art en général.
A dissertação Infinito Instante. Um olhar bergsoniano sobre o tempo nas fotos de Hiroshi Sugimoto procura analisar a linguagem fotográfica contemporânea e sua relação com o tempo a partir da obra do fotógrafo japonês Hiroshi Sugimoto. Para tanto, dialoga com o sistema de idéias do filósofo Henry Bergson e seus conceitos de temporalidade, memória, realidade, consciência, percepção e duração. O trabalho percebe como esses dois artistas e pensadores têm uma visão criativa do tempo, liberando-o das amarras da medição e da racionalidade. Além disso, não deixa de abordar as influências orientais de Sugimoto e sua relação com as obras de Marcel Duchamp e os minimalistas, aumentando as possibilidades do olhar fotográfico e da arte em geral.
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Terne, Nicole [Verfasser], Gesine [Gutachter] Foljanty-Jost, and Ulrich [Gutachter] Smeddinck. "Von Hiroshima nach Fukushima : die nuklearen Opfer Japans / Nicole Terne ; Gutachter: Gesine Foljanty-Jost, Ulrich Smeddinck." Halle (Saale) : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2020. http://d-nb.info/1214240933/34.
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Smart, James Richard. "Rhetorical and narrative structures in John Hersey's Hiroshima: How they breathe life into the tale of a doomed city." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2718.
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Wagner, Patricia Fogel. "Um pouco de tempo em estado puro - Hiroshi Sugimoto e a poética da duração." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-14032013-105207/.
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Mesmo sendo este um trabalho que conjuga relações entre a arte fotográfica de Hiroshi Sugimoto e a arte literária de Marcel Proust, fotografia e literatura não se confundem na intenção de justificar a obra de Sugimoto como uma ilustração da obra proustiana. O elo comum entre elas é a representação do tempo, mas não o tempo espacializado, alvo de uma racionalização histórica provocada pela ciência e pela metafísica, mas um tempo que se perpetua no fluxo contínuo da sua duração. Analisaremos alguns dos trabalhos do fotógrafo que lidam de maneira mais próxima com as ideias de tempo, duração e memória: Dioramas, Theaters e Seascapes. Nosso objetivo é investigar como a obra subverte assuntos tão indissociáveis a esse meio ótico mecânico - como a relação da imagem com o real e do corte fotográfico - colocando em evidência discussões em pauta na experiência pós-moderna acerca de um horizonte temporal irremediavelmente comprimido.Even though this is a work that brings together the photography art of Hiroshi Sugimoto and the literary art of Marcel Proust, photography and literature don´t get mixed up in the attempt to show Sugimoto´s work as an illustration of Proust´s work . The link between them is the representation of time. However, it is not the spatialization of time, historically rationalized by science and metaphysics, but instead, it is a time that perpetuates in the continuous flow of its duration. We will analyze some of the photographer\'s work that most closely deals with the ideas of time, duration and memory: Dioramas, Theatres and Seascapes. Our goal is to investigate how the work subverts such key and indissociable subject matters to the optic mechanical mean -such as the relation between image and reality, and the photographic cut- illustrating discussions of the post-modern experience on the temporal horizon hopelessly compressed.
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Capezzuto, Joseph F. Jr. "Persistence of vision| Hamaya Hiroshi's Yukiguni and Kuwabara Kineo's Tokyo Showa 11-nen in the transwar era." California State University, Long Beach, 2013.
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Meira, Thiago Martins. "Comportamento biomecânico de mini-implantes ortodônticos em diferentes angulações / Thiago Martins Meira ; orientador, Hiroshi Maruo." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2010. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1818.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2010Inclui bibliografias
Introdução: O objetivo do presente estudo foi avaliar o torque de inserção, força de arrancamento axial e superfície de osso cortical em contato com miniimplantes ortodônticos em diferentes angulações. Materiais e Método: 102 mini-implantes foram inserido
Introduction: This study aimed to evaluate the insertion torque, axial pull-out strength and surface area of cortical bone in contact with orthodontic miniimplants at different insertion angles. Methods: 102 mini-implants were inserted at 90°, 60° and 45°
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Li, Minggang. "The early years of Bungei Shunjū and the emergence of a middlebrow literature." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211903086.
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Theodoro, Artur Rafael Agostinho. "Elaboração do passado e indústria cultural: possibilidades de esclarecimento a respeito dos bombardeios às cidades de Hiroshima e Nagasaki." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-12082015-112730/.
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Esta pesquisa tem como objetivo analisar o potencial de esclarecimento de dois conjuntos de materiais. O primeiro consiste em uma exposição a respeito do ataque nuclear às cidades de Hiroshima e Nagasaki. Essa exposição é composta por 30 painéis contendo desenhos, fotografias, textos e gráficos. O segundo conjunto de materiais consiste em matérias jornalísticas recentemente publicadas pela mídia impressa a respeito da bomba atômica. Tais matérias, por sua vez, utilizam-se de textos, fotografias e gráficos. A partir de contribuição de autores vinculados à Teoria Crítica da Sociedade, em especial Theodor W. Adorno, Max Horkheimer e Herbert Marcuse, os materiais são analisados levando-se em conta as noções de elaboração do passado, racionalidade técnica e indústria cultural. Embora recorram à utilização de elementos semelhantes, procura-se demonstrar que os dois conjuntos de materiais acabam por diferir entre si quanto aos seus limites ou, em outras palavras, quanto ao seu potencial de esclarecimento. Isto porque a influência que recebem da indústria cultural, materializada pela presença de elementos característicos desta última no material analisado, nos parece diversa, preponderando em relação às produções da mídia impressaThis research has the purpose of analyzing the potential of enlightenment in two groups of materials. The first one consists in an exposition about the nuclear attack to the cities of Hiroshima and Nagasaki, composed by thirty panels with drawings, photographs, texts and graphics. The second group of materials consists in newspapers news recently published by the printed media referring to the atomic bomb. These news, in its turn, uses texts, photographs and graphics. From the contribution of the authors from Frankfurt School, in special Theodor W. Adorno, Max Horkheimer and Herbert Marcuse, the materials are analyzed taking into account the notions of working through the past, technical rationality and cultural industry. Although they resort to the utilization of similar elements, we try to demonstrate that the two groups of materials turn out to differ among themselves as to their limits or, in other words, as to their potential of enlightenment. This is explained by the diverse influence that they receive from the cultural industry, materialized by the presence of characteristic elements of the later in the analyzed material, which seems to us more prevalent in relation to the printed media productions
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Biladt, Claudia. "Der "Antipode Eichmanns" : Briefwechsel G. Anders & Claude Eatherly /." St. Wolfgang : Ed. Art Science, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016600865&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Castro, Marco Luiz de. "Entre o Japão e o Brasil : a construção da nacionalidade na trajetoria da vida de Hiroshi Saito." [s.n.], 1994. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281999.
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Orientador: Guillermo Raul RubenDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado.
Abstract: Not informed.
Mestrado
Mestre em Antropologia Social
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Kanai, Yoko. "Hiroshi Naito : a study of the Sea-Folk Museum and the Makino Museum of Plants and People." Kansas State University, 2002. http://hdl.handle.net/2097/36129.
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Thys, Daniela Greenhalgh. "Estudo das dimensões dentocraniofaciais de indivíduos respiradores predominantemente nasais ou bucais / Daniela Greenhalgh Thys ; orientador, Hiroshi Maruo." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2004. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=223.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2004Inclui bibliografia
O objetivo deste estudo foi avaliar e comparar por meio de radiografias cefalométricas laterais as características dentocraniofaciais de 41 indivíduos com maloclusão Classe II, divisão 1, 24 respiradores predominantemente nasais (RPN) com 17 respiradores
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Brundell, Ywonne. "Synen på japanen som Den Andre : en studie av fyra svenska dagstidningars reaktioner på nyheten om atombombssprängningarna över Hiroshima och Nagasaki." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-14033.
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Bürkner, Daniel Verfasser], Michael [Akademischer Betreuer] [Diers, and Horst [Akademischer Betreuer] Bredekamp. "Fotografie und atomare Katastrophe : die visuelle Repräsentation der Ereignisse von Hiroshima / Nagasaki und Tschernobyl / Daniel Bürkner. Gutachter: Michael Diers ; Horst Bredekamp." Berlin : Humboldt Universität zu Berlin, Philosophische Fakultät III, 2015. http://d-nb.info/107091049X/34.
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Bürkner, Daniel [Verfasser], Michael [Akademischer Betreuer] Diers, and Horst [Akademischer Betreuer] Bredekamp. "Fotografie und atomare Katastrophe : die visuelle Repräsentation der Ereignisse von Hiroshima / Nagasaki und Tschernobyl / Daniel Bürkner. Gutachter: Michael Diers ; Horst Bredekamp." Berlin : Humboldt Universität zu Berlin, Philosophische Fakultät III, 2015. http://d-nb.info/107091049X/34.
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Stamm, Gina M. "The Context of Loss: Contextualization of the Language of Traumatic Memory in Hiroshima Mon Amour and Le Ravissement de Lol V. Stein." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1279639764.
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Bernard, de Courville Florence. "Problématique du double cinématographique dans Oedipe roi de Pier Paolo Pasolini, Hiroshima mon amour d'Alain Resnais et dans les analyses critiques d'André Bazin." Paris 3, 2004. http://www.theses.fr/2004PA030144.
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Œdipe roi de Pier Paolo Pasolini (1967), Hiroshima mon amour d’Alain Resnais (1959) et les textes critiques d’André Bazin se donnent à la fois comme les témoins et les acteurs d’une relation théorique en acte qui se propose de réfléchir à la notion de mimesis dans la modernité cinématographique. Ces trois systèmes sont le fondement d’une interrogation sur la représentation et l’imitation cinématographiques au sein de ce que Jacques Rancière nomme « le régime esthétique de l’art », à partir d’un retour vers ce qui constitue l’essence de la mimesis : les textes de Platon et ceux d’Aristote. Une hypothèse est ici avancée : du cinéma moderne émergerait un paradoxe, celui du double cinématographique, suivant lequel le cinéma serait à la fois présenté comme une duplication, la reproduction parfaite de son modèle, reproduction qui double le monde jusqu’à se confondre avec lui, et comme le double grotesque des corps, ressemblance trompeuse, épuisée, imitation dérisoire d’un modèle. Ce double statut implique que la duplication cinématographique soit régie par une logique du même et de l’autre, de l’identité et de la différence, de la présence et de l’absence. Cette émergence de la mimesis au cœur du cinématographique soustrait la copie cinématographique, le double, à la valeur de l’imitation ontique, saisie comme imitatio, comme action de reproduire ou de chercher à reproduire suivant la logique de l’homoïosis, d’où la nécessité d’étudier les conséquences de l’immersion de ce concept antique dans la notion de modernité cinématographiqueEdipo Re by Pier Paolo Pasolini, Hiroshima mon amour by Alain Resnais and reviews by André Bazin are the testimonies of a theory which tackles the problem of mimesis in the ²cinema modernity ²; this modernity has been raised by Gilles Deleuze. Those three systems are the basis of a questioning about the representation and imitation in cinema, within Jacques Rancière calls ² the ‘aesthetic’ form of art², a questioning based on the first texts dealing with mimesis : the works by Plato and Aristotle. Let’s bring forward the following hypothesis : modern cinema has emphasized a paradox entitled ² double cinématographique ², implying that cinema is both a duplication – a perfect reproduction of an original, a reproduction which copies the world to become one and the same thing – and a grotesque replica of a matter, a misleading resemblance, and a derisory imitation of an original. This double status implies that the cinema duplication is ruled by a logic of similarity and difference, a logic of presence and absence. This emergence of mimesis leads to the following awareness : the cinema replica does not only mean reproducing or trying to reproduce according to the homoïosis logic, hence the necessity of studying the consequences of the insertion of this antiquity concept in the "cinema modernity" notion
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Madokoro, Hiroshi [Verfasser], and T. [Akademischer Betreuer] Schulenberg. "Thermo-structural analysis of a reactor pressure vessel lower head during core-melt severe accidents / Hiroshi Madokoro ; Betreuer: T. Schulenberg." Karlsruhe : KIT-Bibliothek, 2018. http://d-nb.info/1172351775/34.
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Niemann, Holger [Verfasser], Pedersen Thomas [Akademischer Betreuer] Sunn, Pedersen Thomas [Gutachter] Sunn, and Hiroshi [Gutachter] Yamada. "Power decay in the scrape-off layer of Wendelstein 7-X / Holger Niemann ; Gutachter: Thomas Sunn Pedersen, Hiroshi Yamada ; Betreuer: Thomas Sunn Pedersen." Greifswald : Universität Greifswald, 2020. http://d-nb.info/1222161958/34.
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Kato, Takahiro Verfasser], Walter [Akademischer Betreuer] [Slaje, and Hiroshi [Akademischer Betreuer] Marui. "The first two chapters of Bhāskara’s Śarīrakamīmāṃsābhāṣya : critically edited with an introduction, notes and an appendix / Takahiro Kato. Betreuer: Walter Slaje ; Hiroshi Marui." Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2011. http://d-nb.info/1031915001/34.
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