Dissertations / Theses on the topic 'Hokusai'

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.

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.

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.

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

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.

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

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.

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.

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

Sammanfattning Syfte och frågeställningar Syftet med denna studie är att undersöka hur lärare i idrott och hälsa integrerar hälsa i ämnet idrott och hälsa samt vilka hälsodiskurser som finns hos dem. Frågeställningar: Vad har lärare i idrott och hälsa för syn på hälsa? Vad har lärare för syn på hälsa kopplat till ämnet idrott och hälsa? Hur undervisar lärare eleverna om hälsa i ämnet idrott och hälsa? Vilka hälsodiskurser framträder hos lärare i idrott och hälsa? Metod Studien är kvalitativ och i form av intervjuer med fyra utbildade lärare i grundskolan inom ämnet idrott och hälsa. Ett bekvämlighetsurval gjordes för att hitta deltagare till studien. Som teoretisk utgångspunkt och som analysredskap användes Quennerstedts hälsodiskurser: fysiologidiskurs, riskdiskurs, hygiendiskurs, social fostransdiskurs, moraliseringsdiskurs och motorik- och kroppsupplevelsediskurs. Resultat Resultatet visar på att lärarnas syn på hälsa, samt att kunskapsområdet hälsa i ämnet idrott och hälsa till stor del handlar om fysisk aktivitet. Lärarna är medvetna om de flera olika delar (fysiska, psykiska och sociala) som enligt WHO:s definition ingår i hälsobegreppet, men väljer att lägga den mesta undervisningstiden på just den fysiska delen. Om och när de övriga delarna väl kommer med, sker det oftast i samband med fysisk aktivitet. Lärarna har en gemensam syn på att ämnet idrott och hälsa ska genomsyras av rörelse, hälsa och glädje. Den hälsodiskurs som framträder mest hos lärarna är fysiologidiskursen, medan vissa diskurser knappt går att utläsa i den insamlade empirin. Slutsats Studien visar att lärare i idrott och hälsa behöver lägga mer tid på, och oftare undervisa i den psykosociala delen av hälsa då den fysiska redan tar stor plats. Mycket av resultatet i studien går att koppla till tidigare forskning och stärker att den fysiska delen dominerar lärares syn på och tal om hälsa i ämnet idrott och hälsa.

Thesis (M.A.)--State University of New York at Buffalo, 2005.
Title from PDF title page (viewed on Feb. 1, 2005) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Minglu Gao, Charles H. Carman. Includes bibliographical references.