Relevant bibliographies by topics / Hokusai

Academic literature on the topic 'Hokusai'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Hokusai"

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Mayor, A. Hyatt, and Yasuko Betchaku. "Hokusai." Metropolitan Museum of Art Bulletin 43, no. 1 (1985): 1. http://dx.doi.org/10.2307/3263896.

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Behrens, Roy R. "Hokusai." Leonardo 39, no. 2 (April 2006): 170. http://dx.doi.org/10.1162/leon.2006.39.2.170.

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Davis, Dick. "Haydn and Hokusai." Hudson Review 51, no. 3 (1998): 545. http://dx.doi.org/10.2307/3852721.

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Anía Ruiz-Flores, Pablo César. "Almazán Tomás, V. D., Hokusai Manga, 1 y Hokusai Manga, 2." Artigrama, no. 38 (June 27, 2024): 480–81. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.20233810073.

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Tanaka, Hidemichi. "Sharaku Is Hokusai: On Warrior Prints and Shunro's (Hokusai's) Actor Prints." Artibus et Historiae 20, no. 39 (1999): 157. http://dx.doi.org/10.2307/1483579.

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Matisoff, Susan, and Peter Morse. "Hokusai: One Hundred Poets." Monumenta Nipponica 45, no. 3 (1990): 367. http://dx.doi.org/10.2307/2384914.

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Jenkins, Donald, Gian Carlo Calza, and John T. Carpenter. "Hokusai Paintings: Selected Essays." Monumenta Nipponica 50, no. 3 (1995): 423. http://dx.doi.org/10.2307/2385565.

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Sandler, Mark H., and Gian Carlo Calza. "Hokusai Paintings: Selected Essays." Journal of Japanese Studies 22, no. 1 (1996): 159. http://dx.doi.org/10.2307/133056.

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A, J. "Die Hokusai-Welle kommt." CardioVasc 13, no. 4 (September 2013): 15. http://dx.doi.org/10.1007/s15027-013-0158-z.

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Steiner, Evgeny S. "Hokusai Manga: Contextualisation of Its Title and Genre." Observatory of Culture, no. 2 (April 28, 2014): 68–77. http://dx.doi.org/10.25281/2072-3156-2014-0-2-68-77.

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Is devoted to Manga as the biggest and the best­known work of Hokusai (北斎, 1760-1849). The paper discusses the phenomenon of Hokusai Manga and its place in the context of Japanese picture books. Was it a drawing manual or comic cartoons or perhaps a pictorial encyclopedia? What are the historical meanings and etymology of the word manga and its little­understood supra­heading “Denshin Kaishu”?
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Dissertations / Theses on the topic "Hokusai"

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Matsumoto, Kaoru. "Cézanne and Hokusai : the image of the mountain." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26072.

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During the last half of the nineteenth century, a remarkable number of European artists were influenced by Japanese art and culture, a trend which has been labelled "Japonisme." Among the major Post-Impressionist artists, Paul Cezanne (1839-1906) alone has been viewed as untouched by this influence, largely because of the strong three-dimensional quality of his art. This study provides a reassessment of the issue of Cezanne and "Japonisme" by concentrating on the flat, two-dimensional aspect of his art. The development of Cezanne's conceptualized and schematized treatment of the Mont Sainte-Victoire theme is considered both formally and iconographically in relation to the image of Mt. Fuji by the influential Japanese printmaker, Katsushika Hokusai (1760-1849). Illustrating that Cezanne's path toward Modernism in painting may have been influenced by the Japanese print, and particularly the art of Hokusai, this study leads to a more profound understanding of Cezanne's development and the ideographic language of his images of Mont Sainte-Victoire.
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Nakamura, Hiroko. "La connaissance et l'interprétation de Hokusai en France dans la seconde moitié du XIXe siècle." Paris 1, 2006. http://www.theses.fr/2006PA010524.

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Katsushika Hokusai (1760-1849), artisan peintre de l' ukiyo-e, est le plus célèbre et le plus populaire des artistes japonais dans le monde occidental. La reconnaissance de sa valeur a longtemps reposé sur le jugement dithyrambique porté sur son œuvre par les artistes et les critiques d'art les plus prestigieux en France dans la seconde moitié du XIXe siècle, qui souvent aussi étaient impliqués dans le Japonisme. Hokusai a été considéré, dès cette époque, comme le plus grand artiste du Japon, censé ainsi jouer un rôle fondamental et exercer la plus grande influence sur les artistes français et européens dans le développement de ce phénomène artistique. Or, bien que la reconnaissance de sa valeur ait d'étroits rapports avec le Japonisme, il s'avère que l'influence réelle de ce peintre japonais ne s'exerçait pas forcément par son œuvre, mais plutôt par son profil légendaire élaboré par les écrivains et les critiques d'art japonisants. Plus que la réelle appréciation de son œuvre elle-même, la place faite à Hokusai est, à vrai dire, le reflet des enjeux stratégiques des partisans des mouvements artistiques de l'époque, qui désiraient renouveler les arts français, - en particulier, l'éducation artistique et les arts décoratifs. C'est ainsi que, contrairement au Japonisme qui s'éteint vers la fin du XIXe siècle, Hokusai, incarné en icône de l'art japonais, continue encore de séduire le public occidental.
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Itocazo, Gabriela Rocha. "Um estudo sobre as pinturas de montanhas-e-águas e outras tópicas do mundo-flutuante, em Cem Vistas do Monte Fuji, de Hokusai." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-24102018-111225/.

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Esta dissertação dedica-se ao estudo da obra \"Cem Vistas do Monte Fuji\" (Fugaku Hyakkei) (1834-47?), de Katsushika Hokusai (1760-1849), pintor japonês do século XVIII-XIX. Trata-se de um livro-imagem (ehon), com cento e duas estampas impressas em preto-e-branco (sumizukuri) e tons de cinza (em sua 1ª edição), produzidas com a técnica da xilogravura japonesa, dentro do estilo ukiyo-e (pinturas do mundo-flutuante). O foco da pesquisa está em (1) estudar os assuntos presentes nas estampas, reconhecendo suas categorias dentro de tópicas tradicionais da pintura japonesa, suas referências temáticas, literárias, mitológicas, religiosas e particularidades; (2) analisar os aspectos temáticos e estéticos, em relação à espacialidade, perspectivas e composições, para identificar e refletir acerca das influências ocidentais, chinesas e da tradição japonesa presentes na obra. Ao final do projeto propõe-se uma revisão de nomenclatura para as vistas do mundo natural (shizen), produzidas por Hokusai, em sua última fase de criação (século XIX) comumente chamadas, pelos especialistas, de sansuiga (pinturas de montanhas-e-águas), no Japão, ou \"pintura de paisagem\", no Ocidente. Para tanto, na primeira parte contextualiza-se a vida e obra do pintor, apresentando brevemente características da sociedade japonesa, do período Edo (1603-1868), o estilo artístico ukiyo-e, a técnica utilizada, os sistemas tradicionais de transmissão de saberes nas artes e os nomes de artistas (go) do pintor, para então realizar um estudo sobre os gêneros \"pintura de paisagem\", da tradição ocidental, e \"pinturas de montanhas-e-águas\", da tradição chinesa (shanshuihua) e japonesa (sansuiga), a fim de compará-los e reconhecer as influências estéticas e temáticas presentes nas estampas do pintor. Na segunda parte analisa-se a obra \"Cem vistas do Monte Fuji\", elencando-se assuntos dentro de tópicas da tradição pictórica japonesa, para que assim fosse possível reconhecer as camadas e composições das estampas, tal como suas referências formais e temáticas, debatidas no primeiro capítulo. Foi realizado, para fins metodológicos, uma classificação em sete categorias, para cada uma delas foram selecionadas algumas imagens que melhor exemplificam temas e tratamentos formais que se pretendeu discutir: (i.) Cenas históricas, figuras mitológicas e lendárias; (ii.) Pinturas de montanhas-e-águas e de flores-e-pássaros; (iii.) Cenas de homens-letrados, de contemplação e de lugares-famosos; (iv.) Cenas de assuntos religiosos; (v.) Cenas de usos-e-costumes, de viajantes e trabalhadores; (vi.) Os disfarces e as linhas do Mt. Fuji; (vii.) Geometria, carpintaria e arquiteturas.
This dissertation is dedicated to the study of \"Hundred Views of Mount Fuji\" (Fugaku Hyakkei) (1834-47?), by Katsushika Hokusai (1760-1849), a 18th-19th century Japanese painter. It is a picture-book (ehon), with one hundred and two prints in black-and-white (sumizukuri) and shades of gray (in its 1st edition), produced with the Japanese woodcut technique, in the style of ukiyo-e (floating-world paintings). The focus of the research is to (1) study the subjects present in the prints, recognizing their categories within traditional Japanese painting topics, their thematic, literary, mythological, religious, and particular references; (2) to analyze the thematic and aesthetic aspects, in relation to spatiality, perspectives and compositions, to identify and reflect on the Western, Chinese and Japanese influences present in the work. At the end of the project is proposed a review of nomeclature for the views of the natural world (shizen), produced by Hokusai, in their last phase of creation (19th century) commonly called by experts, sansuiga (mountains-and-waters paintings), in Japan, or landscape painting, in the West. Therefore, the first part contextualizes the work and life of the painter, briefly presenting characteristics of Japanese society in the Edo period (1603-1868), the ukiyo-e artistic style, the technique used, traditional transmission systems of knowledge in arts and the artist\'s names (g) of the painter, to carry out a study of the \"landscape painting\" genres, of the Western tradition, and \"mountains-and-waters paintings\", of the Chinese tradition (shanshuihua) and Japanese (sansuiga) traditions, in order to compare them and to recognize the aesthetic and thematic influences present in the painter\'s prints. In the second part, the work \"Hundred Views of Mount Fuji\" is analyzed, listing subjects within topics of Japanese painting tradition, so that it would be possible to recognize the layers and compositions of the paintings, as well as their formal and thematic references discussed in the first chapter. For methodological purposes, a classification was made in seven categories, for each one of them was selected some images that best exemplified formal themes and treatments that were intended to be discussed: (i) Historical scenes, mythological figures and legendary; (ii.) Mountains-and-waters and flowers-and-birds paintings; (iii.) Scenes of literate men, contemplation and famous-places; (iv.) Scenes of religious subjects; (v.) Scenes of uses-and-customs, travelers and workers; (vi.) Fujis disguises and lines; (vii.) Geometry, carpentry and architectures.
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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 Asiatiques
The 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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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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Yamamoto, Takeo. ""L’art japonais du XVIIIe siècle" d’Édouard de Goncourt : genèse d’un projet interrompu (1888-1896)." Paris 4, 2006. http://www.theses.fr/2006PA040215.

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Dans les dernières années de sa vie, Edmond de Goncourt projette de réaliser un livre sur L’Art japonais du XVIIIe siècle : il souhaite y inclure les monographies de treize artistes japonais. Finalement, la mort de l’écrivain interrompt son projet et seuls deux volumes seront publiés : Outamaro (1891) et HokousaÏ (1896). Dans le Journal des Goncourt, certains parmi les treize artistes destinés à être étudiés sont évoqués ; on peut donc imaginer quelques aspects de la suite du projet. En ce qui concerne la genèse des deux monographies accomplies, elle peut être examinée en s’appuyant sur les documents suivants : le Journal de Goncourt ; sa correspondance ; certains fragments de ces deux monographies parus avant la publication de leur édition originale et ces éditions originales elles-mêmes. Ces documents révèlent la persévérance avec lequel Goncourt récolte les informations et élabore son texte. Ce travail acharné portera ses fruits
In his later years, Edmond de Goncourt planned to publish a series of works on the 18th-century Japanese art. He intended the work to be composed of the studies on thirteen Japanese artists. However, Edmond only published two studies: Outamaro (1891) and Hokousaï (1896). In fact, the death of Edmond interrupted his project. Anyway, in the Journal of Goncourt, certain persons of the thirteen artists to study are mentioned; therefore, we can imagine various aspects on the rest part of his plan. Besides, as to the formation of the accomplished two studies, we can make a research by referring to the following documents: the Journal de Goncourt; his correspondence; the first edition of the two studies, along with their certain parts previously published. These documents reveal the following: Goncourt collected with zeal much information; the writer persevered in his elaboration of text; the fruits of his efforts had a favorable reception
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Lutz, Steven S. "Hokua – A Wavelet Method for Audio Fingerprinting." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3247.pdf.

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Ahlmann, Jacob, Lovisa Bergström, Anton Erholm, Erik Freyschuss, Johan Hartikainen, Eriksson Liv Holm, Simon Jacobson, and Fredrik Oskarsson. "Utveckling av applikationen Hokus Bokus : En praktisk tillämpning av agil programutvecklingsmetodik." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-119146.

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Rapporten beskriver utvecklandet av applikationen Hokus Bokus, en plattform för försäljning av begagnad studentlitteratur på Linköpings Tekniska Högskola. Det som adresseras är dels utvecklingsprocessen men även den tekniska aspekten. För att förbereda Hokus Bokus för marknaden har en marknadsplan gjorts som inkluderar nulägesanalys, konkurrentanalys och identifiering av kundsegment. Teamet har arbetat enligt arbetsmetoden scrum och i rapporten görs en analys av hur detta implementerats. Läsaren får även ta del av den resulterande applikationens utformning och funktionalitet. En beskrivning av systemet och en utvärdering i form av användartester genomfördes. Slutsatsen som dras av arbetet är att en e-handel kan öka försäljningen och minska priset på kurslitteratur genom att samla marknaden på en enklare, gemensam och mer effektiv plattform som Hokus Bokus. Rapporten tar även upp etiska aspekter såsom hantering av användardata och kommunikationskryptering. Slutligen diskuteras applikationens styrkor, svagheter samt framtida möjligheter.
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Wikström-Hedman, Kristina. "Vetenskap, religion eller hokus pokus : en religionsvetenskaplig analys av kvantfysik och shamanism." Thesis, University of Gävle, Department of Humanities and Social Sciences, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-499.

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Detta är ett försök att skildra den livsåskådningstradition som med utgångspunkt från moderna vetenskapliga resultat söker påvisa ett samband mellan dessa och den urgamla shamanistiska tradition som en gång varit världsomspännande och fortfarande lever i spridda rester av vissa kulturkretsar.

Jag har för detta ändamål läst den litteratur som jag här sammanfattar i resultatdelen samt redovisar under rubriken "Diskussion och slutsats" med en religionsvetenskaplig analys och en fenomenografisk genomgång.

Min forskningsuppgift är att utifrån ett religionsvetenskapligt perspektiv göra en deskriptiv analys av några centrala arbeten inom det som kallas den nya fysiken och en shamanistisk tradition i anslutning till den.

Den röda tråd som jag ser löpa genom denna litteratur påvisar dels utifrån olika förutsättningar annorlunda sätt att uppfatta och förhålla sig till "verkligheten" och dels finns här genomgående mer eller mindre religiösa övertoner. En gemensam nämnare för denna idétradition är även den parallell man ser mellan komplementaritet, dvs. ljusets våg/partikeldualism, och olika medvetandetillstånd. Detta innebär i båda fallen ett överskridande av vår vanliga tids- och rumsuppfattning. Vidare krävs det såväl inom shamanismen som i den kvantmekaniska forskningen att man är en kreativ medskapare, inte en objektiv iakttagare.

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Haji, Toshiki. "Miocene intra-arc rifting in SW Japan: Tectonostratigraphy of the Hokutan Group and the paleostress analyses of dike orientations." Doctoral thesis, Kyoto University, 2020. http://hdl.handle.net/2433/253101.

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京都大学
0048
新制・課程博士
博士(理学)
甲第22265号
理博第4579号
新制||理||1657(附属図書館)
京都大学大学院理学研究科地球惑星科学専攻
(主査)教授 山路 敦, 教授 田上 高広, 教授 生形 貴男
学位規則第4条第1項該当
Doctor of Science
Kyoto University
DGAM
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Books on the topic "Hokusai"

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Tazawa, Hiroyoshi, 1960- writer of added commentary and Katsushika Hokusai 1760-1849, eds. Hokusai: Hokusai. Tōkyō: Tōkyō Kokuritsu Hakubutsukan, 2016.

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Katsushika, Hokusai. Hokusai ten: Hokusai. [Tokyo]: Nihon Keizai Shinbunsha, 2005.

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Katsushika, Hokusai. Hokusai ehon: Hokusai ehon. Kyōto-shi: Unsōdō, 2000.

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Morena, Francesco. Hokusai. Firenze: Giunti, 2007.

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Kikuchi, Sadao. Hokusai. Osaka: Hoikusha, 1991.

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1760-1849, Katsushika Hokusai, Nagata Seiji, Arthur M. Sackler Gallery (Smithsonian Institution), and Freer Gallery of Art, eds. Hokusai. Washington, D.C: Freer Gallery of Art, 2006.

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Goncourt, Edmond de. Hokusai. Paris: Larousse, 2014.

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Katsushika, Hokusai. Hokusai. [Tokyo]: Tōkyō Shinbun, 2007.

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1760-1849, Katsushika Hokusai, ed. Hokusai. London: Phaidon, 2003.

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Mayor, A. Hyatt. Hokusai. New York: Metropolitan Museum of Art, 1985.

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Book chapters on the topic "Hokusai"

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Sickler-Voigt, Debrah C. "Katsushika Hokusai." In STEAM Teaching and Learning Through the Arts and Design, 59–66. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003183693-10.

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Merritt, Naomi. "A Sudden Gust of Wind (after Hokusai)." In Jeff Wall and the Concept of the Picture, 139–81. Abingdon, Oxon ; New York : Routledge, 2021. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003085775-9.

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Stewart, Basil. "The Landscape Artists, Hokusai and Hiroshige, and Their Pupils." In On Collecting Japanese Colour-Prints, 71–91. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003398769-6.

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Mandelbrot, Benoit B. "The map z → λ (z+1/z) and roughening of chaos, from linear to planar (computer-assisted homage to K. Hokusai)." In Fractals and Chaos, 146–56. New York, NY: Springer New York, 2004. http://dx.doi.org/10.1007/978-1-4757-4017-2_13.

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Chen, Xiaojun. "CITIC International Business & Trading Co., Ltd v Hokusan Co., Ltd." In Selected Chinese Cases on the UN Sales Convention (CISG) Vol. 1, 383–89. Berlin, Heidelberg: Springer Berlin Heidelberg, 2022. http://dx.doi.org/10.1007/978-3-662-65250-3_46.

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Badamchi, Meysam. "Reasonableness, Rationality and Government: Mehdi Haeri Yazdi’s Hekmat va Hokumat." In Post-Islamist Political Theory, 123–48. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59492-7_6.

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Tsukada, Minoru, and Hiromichi Tsukada. "Fractal Structure in Hokusai’s “Great Wave” and the Memory Neural Network." In Advances in Cognitive Neurodynamics (VII), 107–12. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0317-4_13.

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"Hokusai Now." In A Book of Waves, 203–7. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478024538-012.

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This short interstitial chapter contemplates the world's most iconic representation of waves, Katsushika Hokusai' woodcut “The Great Wave off Kanagawa” (1829). It examines how the work of Japanese art has lately been re-rendered and quoted to speak about global sociogenic ocean damage.
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Kita, Yoshiko. "Pound’s Vorticist Theory and H.D.’s “Oread”." In Cross-Cultural Ezra Pound, 53–66. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781949979800.003.0005.

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Yoshiko Kita provides a case study of the intersection of Vorticism, H.D.’s poem, “Oread,” and the prints from the Edo period of the Japanese artist Katsushika Hokusai (1760-1849). Beginning with Pound’s dictum, “The vortex is the point of maximum energy,” Kita juxtaposes H.D.’s poem to three Hokusai watercolors, Mount Fuji at Sea, The Great Wave off Kanagawa, and Mount Fuji in a Sake Cup, in order to illuminate “the affinity and, more importantly, the difference between [Pound’s and H.D.’s] poetic criteria during the formative period of Vorticism.” In what for Kita is the epitome of a cross-cultural poem, “Oread” demonstrates an intersection of historical influences—as it “echoes Pound’s definition of a ‘one image poem,’” embodies the classical Greek spirit, and shares structural and thematic elements with Hokusai’s color-engravings. Kita argues for how H.D. drew from the Japanese prints by documenting her keen awareness of Japanese art and underscoring the cross-cultural concurrence in H.D.’s poem of Vorticist art, Greek myth, and “the combination of two different types of natural forces,” evident in Hokusai’s seascapes. She concludes that both Pound’s Vorticist theory and H.D.’s execution of it draw as much from visual art as from literature.
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"HOMAGE TO HOKUSAI II." In The Batik Art of Mary Edna Fraser, 77–84. University of South Carolina Press, 2019. http://dx.doi.org/10.2307/j.ctv7r411k.14.

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Conference papers on the topic "Hokusai"

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Bistervels, Ingrid, Wim Boersma, Roisin Bavalia, Karina Meijer, Peter Verhamme, Hugo Ten Cate, Jan Beyer-Westendorf, et al. "Hokusai post-PE study: a follow-up study on long-term outcomes of pulmonary embolism in patients treated with edoxaban vs warfarin." In ERS International Congress 2020 abstracts. European Respiratory Society, 2020. http://dx.doi.org/10.1183/13993003.congress-2020.3581.

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Huerta, María Isabel. "Reestructuración preventiva frente a insolvencia. Aproximación didáctica a la novísima normativa de la Unión Europea (2019) ilustrada por la xilografía de Katsushika Hokusai (1760-1849)." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10225.

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Para desarrollar una educación que propicie una sociedad más crítica, justa e igualitaria es necesario contar con material didáctico que facilite la incorporación de perspectivas transversales en todas las materias. Ello fomentará el aprendizaje reflexivo y duradero. En concreto, en la docencia del Derecho preconcursal, tanto en el ámbito universitario como previo -en la Enseñanza Secundaria, el Bachillerato y la Formación Profesional- puede ser valioso el recurso didáctico a la pintura y la xilografía, que permitirán ilustrar los principios y las connotaciones sociales, económicas y jurídicas de esta parcela jurídica y que favorecerá un enfoque vivamente crítico sobre la materia societaria y de la crisis económica de los empresarios y de los particulares. Este trabajo atiende a esta innovadora propuesta docente.
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Barco, S., S. Granziera, M. Coppens, J. Douxfils, M. Nijkeuter, N. Riva, T. Vanassche, et al. "Determinants of the Quality of Warfarin Control and Validation of the SAMe-TT2-R2 Score for Acute Venous Thromboembolism. An Analysis of the Hokusai-VTE Trial." In 63rd Annual Meeting of the Society of Thrombosis and Haemostasis Research. Georg Thieme Verlag KG, 2019. http://dx.doi.org/10.1055/s-0039-1680149.

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Dou, Dongying. "Great Waves in Ukiyo-e Analyzing the Artistic Spirits in Katsushika Hokusai's Landscape Paintings." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.81.

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Komachi, Saki, Shinya Fujita, Kohei Takeda, Hayate Nakaoka, Toshinori Kuwahara, Kazuya Yoshida, and Junichiro Kawaguchi. "Safe Attitude and Orbit Control for ISS-Deployed CubeSat HOKUSHIN-1 with Cold-Gas Propulsion System." In 2024 IEEE/SICE International Symposium on System Integration (SII). IEEE, 2024. http://dx.doi.org/10.1109/sii58957.2024.10417713.

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Yokota, Hideharu, Yoichi Yamamoto, Keisuke Maekawa, and Minoru Hara. "A Study on Groundwater Infiltration in the Horonobe Area, Northern Hokkaido, Japan." In ASME 2010 13th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2010. http://dx.doi.org/10.1115/icem2010-40047.

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In the Horonobe area of northern Hokkaido, the Japan Atomic Energy Agency has been carrying out various hydrological observations to estimate the recharge rate. Subsurface earth temperature and soil moisture content have been observed at HGW-1 site (GL-0.7m to GL-2.3m, since 2005) and Hokushin Meteorological Station (GL-0.1m to GL-1.1m, since 2008). The results have revealed groundwater infiltration and recharge occurring throughout year, the shallow groundwater-infiltration velocity depending on the depth and the position of the Zero Flux Plane. For the estimation of boundary conditions in groundwater flow simulation, in this study, the shallow groundwater-flow system has been examined qualitatively on the basis of the variation of the subsurface earth temperature and the soil moisture content. In the future, it is necessary to quantitatively assess the shallow groundwater infiltration and recharge rate, the intermediate runoff, and the evapotranspiration based on the observed data of the weighing lysimeter, and the other measurement stations in the area.
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