Dissertations / Theses on the topic 'Rakugo'

Questo elaborato si propone di presentare in modo sufficientemente esaustivo l’arte tradizionale giapponese del rakugo, una forma di teatro che sfugge alle comuni definizioni occidentali, tanto popolare in patria quanto sconosciuto all’estero. Nel capitolo introduttivo si cercherà di delineare le caratteristiche fondamentali di questa arte, sia all’interno del contesto del teatro giapponese che di quello mondiale. Successivamente saranno presentate e analizzati due spettacoli, diversi tra loro per interpreti e tipologie, in modo da illustrare le proprietà e le tecniche a fronte di esempi pratici che le rendano più immediatamente comprensibili. Verrà poi analizzato il discorso storico, a partire dalle tradizioni narrative preesistenti e seguendone il loro sviluppo attraverso i secoli, fino alla creazione del genere, il suo consolidamento e, infine, la sua evoluzione fino alla contemporaneità. Il quarto capitolo si concentrerà sulla figura dell’attore, sul tipo di apprendistato che deve seguire, al suo ruolo all’interno della comunità artistica, nonché la trasmissione tradizionale delle conoscenze artistiche. Verranno discussi la figura di Henry Black, unico non giapponese ad essere stato riconosciuto come maestro di rakugo e il dibattito moderno sulle donne attrici. Il repertorio artistico verrà presentato sia attraverso le categorie classiche che quelle moderne, nonché nelle variazioni regionali. Verrà presentata la questione del linguaggio politicamente scorretto all’interno delle opere tradizionali, nonché il rapporto tra gli attori e i loro racconti e come questo venga gestito all’interno della performance teatrale. Infine, sarà preso in considerazione il luogo in cui si mette in scena il rakugo, ovvero lo yose, che sarà descritto nella sua architettura, con una breve presentazione degli yose attualmente in attività. Verranno poi introdotte le varie arti complementari al rakugo nel programma di una giornata tipica e il modo in cui vengono gestite le rappresentazioni. Verrà introdotto il discorso del rakugo al di fuori dello yose e nei media, radio e televisione. Sarà quindi discusso il ruolo dello yose nel contesto della realizzazione artistica e quello che potrebbe essere il suo futuro negli anni a venire. Nel capitolo finale si cercherà di trarre delle conclusioni riguardo al rakugo come arte tradizionale e popolare, con accenni al ruolo che esso ha oggi nella società giapponese e il modo in cui esso è percepito, nonché i tentativi di diffonderlo al di fuori del Giappone da parte di alcuni attori.

Le rakugo est un art traditionnel japonais de conteurs. Notre travail s'articule autour des developpements suivants, dans le but d'explorer l'exploitation que propose le rakugo des potentialites de la parole. A. L'histoire du rakugo, des origines - la litterature d'anecdotes et la predi- cation bouddhique - a nos jours, avec un accent particulier mis sur les premieres seances qui ont lieu a la fin du dix-huitieme siecle. B. Les caracteristiques textuelles des recits de rakugo: leur structure, leur mode d'enonciation, et les genres entre lesquels se distribue le repertoire. C. Les enjeux sociaux du rakugo: n'est pas un art subversif, bien qu'il soit populaire. D. Les jeux de langage dans le rakugo. Le rakugo constitue le theme premier d'un certain nombre de recits du repertoire. Les personnages de ces recits, par conse- quent, sont des enonciateurs plus que des individus porteurs d'une histoire. Les recits nous donnent alors a entendre une polyphonie complexe ou la voix des personnages, bien que vehiculee par le monologue du conteur, est respectee dans son absolue autonomie. De la meme maniere, les recits mettent en scene les diffe- rents modes d'apparition de la fiction dans la voix de ces personnages. C'est pourquoi le rakugo apparait comme etant un art de la parole, aussi complet qu'original
Rakugo is one of the japanese traditional art of story-telling. The following points are approached, in the aim of studying the working of the numerous potentialities od speaking by the storytellers. A. The history of rakugo, from its origins in the setsuwa bungaku and the buddhist preaching, to its actual state, through the first performances at the end of the eighteenth century. B. The textual features of rakugo stories: their structure, their utterance and their genres. C. The social background of the characters: the rakugo is not a subversive art. D. The language plays in rakugo: the main theme of a lot of stories is language in itself, and the characters are to be considered as peculiar speakers, more than as story-bearing persons. Rakugo thus let us hear a very complex polyphony of the numerous voices of the characters. On an other level, the stories also stress upon the coming out of fiction through the voices of the characters. Consequently, rakugo appears to be a very complete and original art of speaking

This dissertation is based on the analysis of humor in rakugo, a traditional genre of comedic storytelling in Japan. This project tackles the question: How does highly structured rakugo humor contribute and shape the Japanese society’s perceptions of the city of Tokyo in an age where the major social trends are dominated with a highly mediated and digitized lifestyle. In analyzing humor in rakugo, I argue that the farcical encounters, by refracting certain domains of human experience that cannot be articulated otherwise, provide a spectacle through which to view the deeper nuances in the sociocultural panorama of city life in Tokyo on the scale of individual interactions, institutions and neighborhoods. Rakugo and its mode of oral storytelling plays on the intricate discursive dynamics, by means of which tradition and modernity are imagined, represented, and the relationship between them negotiated. Additionally, the performance of rakugo, which has a long history that goes back to Early Modern Japan, triggers an affective imagination of the neighborhood life of the city’s past, where such imagination influences the Japanese society’s perception of the present. Rakugo’s popularity in the twenty first century is, in part, a result of the ideology of the Japanese state, on the other hand, it is mostly due to the power of the humorous folk narratives and mindfulness of the performers that the genre maintains a sense of coherence and agility, and urges the audience to embrace the patterns and lifestyle of the past, while remaining tuned with the prevailing trends of ambiguity and conspiracy in the aftermath of the recent triple disaster. My dissertation consists of eight chapters: After providing introductory statements and questions regarding the importance of humor in generating an analytical view of the Japanese society, in the first chapter, I map out the layers of memory and imagination transmitted through the story-telling voice and embodiment in a rakugo performance. The oral storytelling of rakugo activates an auditory perception of the neighborhood life of Tokyo that is characterized by simple, informal conversations and playful interactions, where such ease of direct interactions leads to a construction of the ancient neighborhoods as a sanctuary from the hyper mediated matrix-like lifestyle of contemporary Tokyo. Rakugo’s parodic tone gives the impression that, although times might change, human situations do not. Hence the humorous content of rakugo helps maintaining a sense of continuity within the rapidly changing trends of urban life. On March 11 2011, my fieldwork was interrupted with a big earthquake, which was followed with a tsunami hitting the Fukushima Nuclear Power Plant. Therefore, the second chapter questions the limits and possibility of humor and the rakugo performers’ reactions in a time of ambiguity and conspiracy in the aftermath of Japan’s recent triple disaster. While exploring the contemporary interpretations of ghost stories (kaidan banashi) and gallows humor, this chapter focuses on the binary tensions between the causes of fear and its humorous modification, and gets tied-up to the contemporary society’s fear and anxiety toward technology and the humorous interpretation of such fear in rakugo. The third chapter focuses on the changing notions of fame and stardom by comparing the generation of the legendary performers with contemporary ones in the light of the changing rhythms of urban life, which has an impact on the production of humor on the contemporary rakugo stage. The fourth chapter has an analytical perspective on the rakugo audience as fans and patrons, while engaging in the discussion of connoisseurship in relation to iki and tsū, (indicating stylishness and expertise, respectively). The fifth chapter focuses on the portrayals of foolishness while providing an analysis of mockery of the scholastic knowledge of modernity in rakugo stories. This chapter provides an analysis of Japanese modernity through the humorous perspective and mockery of the Edo commoners, their masterful use of the nonsensical logic, and the way such perspective is interpreted by the contemporary rakugo performers. The sixth and final chapter tackles the importance of voice projection in the performance of rakugo. While problematizing the so-called incompetence of female voice, as an accepted norm by the majority of the community of rakugo performers, this chapter also problematizes the issue of voicing culture and tradition.
Anthropology

Henry Black was born in Adelaide in 1858, but arrived in Japan in 1864 after his father became editor of the Japan Herald. In the late 1870s, Henry Black addressed meetings of members of the Freedom and People�s Rights Movement. His talks were inspired by nineteenth-century theories of natural rights. That experience led to his becoming a professional storyteller (rakugoka) affiliated with the San�y� school of storytelling (San�yuha). Black�s storytelling (rakugo) in the 1880s and 1890s was an attempt by the San�y�ha to modernise rakugo. By adapting European sensation fiction, Black blended European and Japanese elements to create hybridised landscapes and characters as blueprints for audiences negotiating changes synonymous with modernity during the Meiji period. The narrations also portrayed the negative impacts of change wrought through emulation of nineteenth-century Britain�s Industrial Revolution. His 1894 adaptation of Oliver Twist or his 1885 adaptation of Mary Braddon�s Flower and Weed, for example, were early warnings about the evils of child labour and the exploitation of women in unregulated textile factories. Black�s kabuki performances parallel politically and artistically inspired attempts to reform kabuki by elevating its status as an art suitable for imperial and foreign patronage. The printing of his narrations in stenographic books (sokkibon) ensured that his ideas reached a wide audience. Because he was not an officially hired foreigner (yatoi), and his narrations have not entered the rakugo canon, Black has largely been forgotten. A study of his role as a mediator of modernity during the 1880s and 1890s shows that he was an agent in the transfer to a mass audience of European ideas associated with modernity, frequently ahead of intellectuals and mainstream literature. An examination of Black�s career helps broaden our knowledge of the role of foreigners and rakugo in shaping modern Japan.

Henry Black was born in Adelaide in 1858, but arrived in Japan in 1864 after his father became editor of the Japan Herald. In the late 1870s, Henry Black addressed meetings of members of the Freedom and People�s Rights Movement. His talks were inspired by nineteenth-century theories of natural rights. That experience led to his becoming a professional storyteller (rakugoka) affiliated with the San�y� school of storytelling (San�yuha). Black�s storytelling (rakugo) in the 1880s and 1890s was an attempt by the San�y�ha to modernise rakugo. By adapting European sensation fiction, Black blended European and Japanese elements to create hybridised landscapes and characters as blueprints for audiences negotiating changes synonymous with modernity during the Meiji period. The narrations also portrayed the negative impacts of change wrought through emulation of nineteenth-century Britain�s Industrial Revolution. His 1894 adaptation of Oliver Twist or his 1885 adaptation of Mary Braddon�s Flower and Weed, for example, were early warnings about the evils of child labour and the exploitation of women in unregulated textile factories. Black�s kabuki performances parallel politically and artistically inspired attempts to reform kabuki by elevating its status as an art suitable for imperial and foreign patronage. The printing of his narrations in stenographic books (sokkibon) ensured that his ideas reached a wide audience. Because he was not an officially hired foreigner (yatoi), and his narrations have not entered the rakugo canon, Black has largely been forgotten. A study of his role as a mediator of modernity during the 1880s and 1890s shows that he was an agent in the transfer to a mass audience of European ideas associated with modernity, frequently ahead of intellectuals and mainstream literature. An examination of Black�s career helps broaden our knowledge of the role of foreigners and rakugo in shaping modern Japan.

Saugiais gali būti laikomi tik užšifruoti duomenys, o šifravimas neįmanomas be šifravimo rakto. Vienas iš geriausiai žinomų ir plačiausiai naudojamų šifravimo raktų yra slaptažodis, tačiau pagrindinis jo trūkumas tas, kad jį reikia atsiminti. Šioje situacijoje gali padėti biometrija, kadangi praktiškai kiekvienas žmogus turi unikalias charakteristikas. Tačiau pagrindinė problema yra - kaip iš biometrinių charakteristikų suformuoti šifravimo raktą. Pirštų atspaudai yra gerai žinoma biometrinė charakteristika, naudojama žmonių identifikavimui ir tapatybės patvirtinimui, o USB atmintinėse ar nešiojamuosiuose kompiuteriuose integruoti pirštų atspaudų skaitytuvai jau nieko nebestebina. Kiekvienas piršto atspaudas gali būti aprašytas minutiae taškų matrica iš kurios būtų galima generuoti šifravimo raktą. Tačiau netgi to paties piršto atspaudai nėra identiški ir į tai reikia atsižvelgti. Šiame darbe pateikiamas vienas tiesioginių šifravimo raktų generavimo iš pirštų atspaudų metodas. Iš atspaudo suformuojama minutiae taškų matrica, iš jos suformuojami parametrai ir perduodami raktų generatoriams. Matricų formavimui panaudoti du produktai, realizuoti 8 generatoriai, formuojantys 64 ir 128 bitų ilgio šifravimo raktus. Sistema ištestuota su pasiruošta pirštų atspaudų duomenų baze, pateikti gauti rezultatai.
Only encrypted data can be treated as secure data and encryption is impossible without encryption key. One of the best known and widely used encryption keys is password, but the main its drawback is necessity to remember it. Biometrics may help to avoid this situation, because everyone has unique characteristics. But the main question is how to extract encryption key from biometric data. Fingerprints are well known biometric characteristic, used for people identification or authentication and fingerprint readers integrated into USB flash drives or laptops don’t cause surprise any more. Every fingerprint can be described using minutiae points’ matrix and from this matrix encryption key can be generated. But fingerprints of the same finger aren’t identical, so this must be kept in mind as well. In this research one method of direct encryption key generation from fingerprint is introduced. Minutiae matrix is structured from fingerprint image; parameters are formed and passed to encryption key generators. Two products were used for making matrix and eight generators were produced, generating encryption keys length of 64 and 128 bits. This system was tested with prepared fingerprint set and all the results are given.

La popolare espressione giapponese “Ichi Raku, Ni Hagi, San Karatsu”, classifica le tre migliori ceramiche per la cerimonia del tè, ponendo al primo posto la ceramica Raku, al secondo quella Hagi e al terzo la ceramica Karatsu. Partendo da questa espressione questo elaborato esplora le tre ceramiche Raku, Hagi e Karatsu e il loro ruolo nella cerimonia del tè. Il primo capitolo esporrà una panoramica generale sulla storia e lo sviluppo della ceramica giapponese, dal periodo Jōmon (14000-300a.C.) alla contemporaneità, nonché della cerimonia del tè. I tre capitoli seguenti si concentreranno in modo più approfondito sui tre tipi di ceramica protagonisti di questo elaborato, Raku, Hagi e Karatsu, esplorandone storia, caratteristiche, tecniche e artisti. Il secondo capitolo sarà dedicato alla ceramica Raku di Kyoto, nata alla fine del XVI secolo dalla collaborazione tra un artigiano coreano di nome Chōjirō e il famoso maestro del tè Sen no Rikyū. Nel terzo capitolo si passerà alle ceramiche Hagi, nate nella prefettura di Yamaguchi da due fratelli coreani giunti in Giappone a seguito delle invasioni della Corea di Hideyoshi tra il 1593 e il 1598. Il quarto capitolo si concentrerà, invece, sulle ceramiche Karatsu che occupano il terzo posto nella classifica per le migliori ceramiche per la cerimonia del tè. Ceramiche nate nella regione del Kyushu, nella prefettura di Saga e dalla storia molto antica, che risalirebbe persino all’VIII secolo. Il quinto capitolo, infine, esplorerà brevemente le origini dell’espressione “Ichi Raku, Ni Hagi, San Karatsu”, per poi riflettere sulle caratteristiche che rendono una tazza una chawan adatta alla cerimonia del tè e le motivazioni per la scelta e la posizione nella suddetta classifica di Raku yaki, Hagi yaki e Karatsu yaki.

Thesis (Ed. D.)--Illinois State University, 1987.
Title from title page screen, viewed September 1, 2005. Dissertation Committee: Heather Hanlon (chair), Paul J. Baker, Barbara Heyl, Thomas E. Malone, Thomas W. Nelson. Includes bibliographical references (leaves 118-120) and abstract. Also available in print.

Programų apsaugą yra svarbus šių dienų klausimas. 2009 metais pasaulyje buvo užfksuotas 43% piratavimo lygis, o Rytų Europoje 64% lygis. Vienas iš būdų apsaugoti programas nuo neteisėto naudojimo yra aparatiniai apsaugos metodai. Atlikus aparatinių apsaugos metodų analizę nustatyta, kad pažeidžiamiausia apsaugos vieta yra komunikavimas tarp programos ir aparatinio įrenginio, todėl apsaugos raktai, kurie vykdo dalį programos, gali apsaugoti nuo daugumą apgrąžos inžinerijos atakų. Įrodymui buvo sukurtas simuliacinis paskirstytų skaičiavimų aparatinės apsaugos Matlab modelis ir atliktas eksperimentis jo patikrinimas parodė, kad siūlomas apsaugos modelis yra atsparus derinimo ir programos klonavimo atakoms. Tyrimo metu, buvo sukurtas eksperimentinis apsaugos rakto prototipas, kuri vykdo dalį programos, o apsauga ištirta su dviem eksperimentinėmis programomis nuo derinimo, dekompiliavimo ir programos klonavimo atakų. Eksperimentinis tyrimas parodė, kad galima rasti programos kreipinius į apsaugos raktą, tačiau jų apėjimas ar pakeitimas, sugadina programą, praneša apie nežinomus adresus. Taip pat buvo atliktas eksperimetinės programos, apsaugotos komerciniu apsaugos raktu, tyrimas, kuris parodė, kad tradiciniai apsaugos metodai neužtikrina apsaugos nuo apgrąžos inžinerijos, kaip tai buvo įrodyta su eksperimentiniu apsaugos rakto prototipu.
Software protection is important problem of nowaday. In 2009 the piracy rate reaches 43% of all globe softwares usage, especialy high piracy rate is in Eastern Europe, where 64% of softwares are illegal. This brings hardware-based protection to be one of the prime defense against illegal software usage. The analysis of hardware-based software protection showed that the weakest part of hardware-based protection is communication with software, so dongle method, which computes part of the software inside dongle, could withstand most of reverse engineer attack methods. To prove this Matlab model of distributed dongle-based protection scheme was created and its experimental evaluation showed, that suggested software protection model is resistant against deassembling, debbuging and software cloning attacks. Equally, experimental distributed computing protection dongle prototype was created and tested with two experimental programs against deassembling, debbuging, decompilation and software cloning attacks. This shows that attackers can find calls to the dongle, but can not jump or nop it, such it was done in experimental software protected with traditional commercial dongle.

Nous définissons l’instant plasticien en céramique comme l’unité temporelle d’un processus formel – à la main - d’une pièce d’argile qui subira une cuisson. Maillon syntaxique du présent plasticien, il est geste cogito-sculpteur qui recouvre différentes modalités. Habité de multiples composantes, nous analyserons son contenu en exposant d'abord ses contraintes techniques. Nous prendrons appui sur un exemple personnel pour expliquer sa composante lest cognitif – les connaissances techniques, artistiques, scientifiques et historiques -, nous analyserons également les constituants de la culture gestuelle. Ces deux composantes distinctes modèlent plus ou moins sciemment cet instant spécifique comme l’esthétique des formes qu’il promeut. Nous préciserons la spécificité de celui personnel en puisant dans l’Histoire de l’Art céramique ; nous aborderons la culture raku du Japon médiéval d’où provient le mode de cuisson employé pour les œuvres personnelles en référence. Si depuis le début de l’Art céramique, chacun des domaines qui constituent le contexte sociétal a autant modelé ses arguments poïétiques que l’esthétique qu'il promeut, celui personnel puise ses arguments créatifs et sa posture d’apologie des beautés de la planète, d’un questionnement sur l’origine des désordres et déséquilibres environnementaux qui forment le fond de notre contemporanéité. Motivé d'une intention réceptionnelle – autre composante -, celui personnel espère susciter chez le regardeur une réflexion sur les causes probables de la dégradation des biotopes existants comme sur la gestion actuelle d’une entité qui est au fondement du faire technique céramique, à savoir le respect du temps de la nature
We define the plastician instant in ceramic work as temporal unit of a formal process - by hand – of a work in clay, which will necessarily be subjected to firing. Syntactic link of the plastician present, it is a cogito-sculptor's gesture which covers different modalities. Filled with multiple components, we’ll analyze its content by first exposing its technical constraints. We'll refer to a personal example to explain its lest cognitive component – the technical, artistic, historical and scientific knowledges -, and we'll analyze the constituents of the gestural culture. These two distinct components model more or less knowingly this specific instant, as well as the resulting aesthetic shapes. We will identify the specificity of the personal one by exploring the History of ceramic Art ; we will address the raku culture's past, born in medieval Japan where the firing technique used for personal art works in refer comes from. If, since the beginning of Ceramic Art, each of the domains that constitute the societal context modeled its poïetic arguments as well as the aesthetic this special instant constitutes, this particular one on which we’ll base our analysis draws its creative arguments and its planet beauty's vindication posture from a questioning about the origin of disturbances and environmental imbalances which are the essence of our contemporary world. Filled with a receptional intention – another component –, this personal one intents rouse the viewer to reflect on the probable causes of the existing biotopes' degradation, as well as on the current management of an entity which is fundamental in the ceramic technical work, namely the respect of nature's time

Thesis (M.F.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-0328104-205740. Includes bibliographical references. Also available via Internet at the UMI web site.

Japonské slovo wagei (~!55:t) označuje umění mluveného slova. Umění, ve kterém účinkující obratným vyjadřováním a technikou mluvy baví posluchače. Mezi tato japonská umění mluveného slova se řadí vedle vypravěčského žánru rakugo i rókjoku U!ll:B=B, příběhy vyprávěné zpěvem) nebo vyprávění kódan (~lU~). Rakugo se od ostatních umění mluveného slova liší především tím, že jeho příběhy jsou vyprávěny převážně formou dialogu. Vypravěč tak zaujímá úlohu herce mnoha rolí. V doslovném překladu termín rakugo (~~!) znamená "padající slova". Příběhy rakugo mají spád, slova, ze kterých jsou poskládány, jakoby padala jedno po druhém. Tento druh umění možná nedosahuje takového věhlasu jako třeba divadlo nó nebo kabuki, avšak své místo v japonském kulturním světě zcela jistě zaujímá. Tradičním místem, kde posluchači mohou rakugo slyšet, jsou malá divadla jase. Ozawa Šóiči ve své knize Jase no sekai (Svět divadel jose) vzpomíná: "V padesátých letech 20. století byla tato divadla a představení, která se v nich odehrávala považována za něco podřadného. V té době by nikoho ani nenapadlo, že by se vypravěč rakuga mohl stát ,žijícím národním pokladem'." Tohoto ocenění se v roce 1995 dostalo vypravěči Janagija Kosanovi V. Deset let poté se příběhy klasického rakuga dostávají v zábavné formě, lehce srozumitelné mladému publiku na...

The aim of this study is to compare characters in classical and contemporary japanese storytelling rakugo. Classical rakugo presents cultural tastes of merchant class in the Edo period (1600-1867) while the pattern of storytellers attending lords turned to performance in public and brought several amusing characters to idealize the medieval or rather premodern world. Contemporary rakugo carries on this popular tradition spontaneously with great expectations for its future appearance. As society phenomenons effect the appearance of rakugo characters, it is possible to observe the difference between this representation of life in community in past and nowadays. To compare classical and contemporary rakugo characters I analyzed them first according to their or storyteller's utterances and defined them as literary types.

The students of 'oral literatures' traditionally viewed 'orality,' the spoken mode of communication, as inferior to 'literacy,' the written mode. They depicted 'oral literatures' as legacies from the past, and the products of socially, economically and geographically marginalized, illiterate populations, and are hence doomed to disappear in a literate society. Many also assumed that 'oral literatures' are characterized by little structural complexity and individual creativity, and thus they possess an insignificant esthetic value. This study attempts to re-examine the validity of such traditional claims by examining the coexistence and interaction between orality and literacy in a Japanese traditional narrative art known as rakugo. Rakugo is a highly stylized form of narrative delivered by urban professional storytellers in Japan. The study will reveal rakugo's structural features, which are derived from both oral and literate traditions, as well as its generic relation to Japanese literary genres. The study will also examine the esthetic dynamics of live performance where the performer’s creativity is brought into parity with tradition and social norms; and hence it will highlight the significance of oral tradition in a highly literate, modern society.

Rakugo, the art of staged comic storytelling of Japan, is generally classified as and perceived by audiences to be an oral tradition performed without significant musical accompaniment. This is due to the belief that rakugo is an art form of the Kanto region where music is seldom used, and that rakugo performed in the Kansai region is merely a regional offshoot of the tradition proper. Kamigata rakugo is nevertheless its own distinct tradition and music is a crucial component of it. Music is employed from start to finish, and it ties storyteller to storyteller, story to story, and audience to performance. However, the primary issue with the existing literature is that the music and musicians are not given much recognition and are considered separate from the stories and storytellers. Scholars have not given much recognition to the centrality of those who perform the music in the tradition, and the interaction that takes place between the storytellers and musicians as they prepare for a performance. To address these shortcomings in the extant literature I conducted ethnographic research in Japan that included undertaking a temporary apprenticeship to become a musician of rakugo. The central question guiding this research was "why is music essential to Kamigata rakugo?" For my study I was able to access the musicians' room located in the inner sanctuary of the yose theatre and engage with the storytellers and musicians regarding the stories and music. Unlike many other scholars, therefore, I was able to consider Kamigata rakugo as a complete performing practice. I realised that while all performers appeared from the outside to follow a strict vertical hierarchical structure, this was not a sufficient representation of how things were actually operating on the inside. As I considered the ways in which storytellers negotiate the use of music with the female musicians I was struck by the steadfast assertion by some storytellers or female musicians that the music cannot be altered, while other storytellers or female musicians had a deliberate disregard for the rules and changed them as they pleased. A subsidiary question that this research addresses therefore is "how does hierarchy support music's essential role?" Over the course of my fieldwork it was clear to me there are many different forms of authority or capital inherent to the working of the tradition but the most influential are knowledge, gender, seniority, kinship, status, and role. The musical arena in Kamigata rakugo is a space for promoting, resisting, and subverting positions of authority and ultimately hierarchy. In this study I argue that hierarchy should not simply be viewed as a simple linear structure. Rather than simply radiating downwards, it constitutes a dynamic web of relationships.

This thesis is a study of Henry Black, a long-term Australian resident of Japan who became famous as ‘the blue-eyed story teller’, a performer of rakugo, a traditional Japanese art. His fluency in Japanese language and deep knowledge of both Japanese and Western cultures enabled him to make a strong contribution to cross cultural understanding in Meiji Japan. Though the thesis will necessarily document his life and achievements, and for this will build on Ian McArthur’s ground-breaking work, its main focus is on the resurgence of interest in Black in the 1980s that McArthur’s work belongs to. Though Black achieved a degree of fame during his life, he was largely forgotten after his death in 1923. What were the factors in the emergence and growth of interest in him so long after his death? In addressing this question, the thesis shows the complexity of cross cultural understanding, the intersection of personal contributions, academic and popular publishing, popular culture, the politics of soft diplomacy among other factors. It concludes with an account of the legacy set in train by the events of the 1980s and 1990s. This research aims to contribute to an increased appreciation for the individuals such as Black who made a lasting impact to cross-cultural understanding through their careers and legacy.

As a text Botandōrō demonstrates bibliographic codes that straddle the border between modern and pre-modern literature. Wakabayashi would present his work as the fruit of his technique of ‘photographing language’ that, by extension, would provide closer and more direct access to the interiority of “author.” In his prologue he presented his shorthand method as a technique that would come to represent the new standard of modern writing. As they created a new system for transcribing language, stenographers were wrestling with the philosophical nature and limitations of language in spoken and written form, and their discoveries and accomplishments would provide a framework for future authors during a highly transformative period in the history of Japanese literature, whether intentional or not. By focusing on these paratextual elements in Botandōrō in the context of the tale’s intertextual construction we find that it is best viewed as a text that exhibits aspects of modern and pre-modern literature in its presentation as a material object, the claims it makes for sokki as a modern writing technique, and its negotiations with the idea of authorship.

碩士
國立臺北教育大學
語文與創作學系碩士班
104
Kyoto Rakuen is composed of five short stories and one novella, presenting how Taiwanese digital natives imagine Taiwan and foreign culture. “Rakuen” means “paradise” or “amusement park” in Japanese. Inspired by the Disneyland which appeared in Simulacra and Simulation by Jean Baudrillard, culture became a code instead of a sign in the stories. “Kyoto” was inspired by the situation of Kyoto. Most of the tourists had experienced a “fake” Japan culture in Kyoto, however, they think it was real because they believe it. “Rakuen” is an outmoded postmodern concept. “Kyoto” furthermore emphasize the most important thing is to believe no matter the culture is fake or real.

碩士
朝陽科技大學
工業設計系
103
The ceramics industry in Taiwan is currently changing rapidly. This is due to many factors, among them the exchange rate of the Taiwan Dollar and the increasing cost of labor in the country. The industry has traditionally been very labor-intensive, which has led companies to seek lower wage costs offshore. Local ceramics firms are attempting to transition into newer ways of producing their products. For instance, kiln firing as done in the past involves a great deal of time. There are many kinds of pottery art. A type that is simple and easy to produce is called Raku. In this process, it is not necessary to be close to a large kiln in order to make the products. The Raku kiln is portable, and the potter is able to set it up nearly wherever he or she wants to. Our study uses a new technology based on a ceramic fiber blanket. It provides better thermal shock resistance for a more efficient kilning process, and makes a kiln portable. It corrects some of the shortcomings of the older type kiln. Because traditional Raku assembly is time-consuming and requires a lot of labor, we are studying ways to improve the convenience of pottery making. In the past, asbestos, a dangerous substance, was used as insulation in the kilns. New Raku removes this element. New methods use different, safer materials for insulation. This portable kiln is made possible through the development of the Ceramic Fiber Blanket. This blanket provides the insulation that asbestos did formerly. A box can now be built nearly anywhere, and, once wrapped with the ceramic blanket, makes a kiln that works well for the firing of ceramics. A Raku kiln is divided into two parts: a lower, which contains the furnace (heat source) and an upper, where the new pots rest while being fired. New Raku also uses air convection to increase efficiency. Using the principle of hot air rising, the temperature inside the kiln can more easily be adjusted. As hot air rises up the chimney, fresh, cold air can be pumped in from the bottom, making the firing faster and decreasing the time spent. An improved chimney design also decreases waste present in older methods. The new kiln uses a modern, stylish design that will appeal to more people . It allowspeople to use local materials and ideas and showcase the ingenuity, creativeness, and culture of local ceramicists. The new Raku uses upper and lower chambers, the lower containing the kiln heat, and the upper being an oven for the placement of the ceramics being fired. This new kiln, using convection heat, allows projects to be conducted locally. A central kiln is no longer necessary. Therefore, local ingredients and styles can be developed, making for different styles in different parts of the country, and satisfying customers who want a new, non-traditional experience. Our study seeks ways to improve the design of new Raku, making it possible for many more people in different places to fire their ceramics. The improvements in kiln design will hopefully make the ceramics industry in Taiwan more adaptable to the changing industry world-wide.

碩士
國立臺灣藝術大學
造形藝術研究所
94
Abstract The “Raku” was originated from Japanese Chado (the Way of Tea) Culture, which then was introduced to the United States to become very popular ceramic sintering technology. In 1984, the ceramic art creator, Ms. Chi, Cha-Lin came back from abroad and held the personnel Raku exhibition to introduce it into Taiwan ceramic art sector. More than 20 years have passed, it is a very interesting phenomenon that most of ceramic artists and people of ceramic market are still unfamiliar to the Raku and little literature was found addressing this issue. This study used literature analysis and in-depth interview methods to carry out the research. Ten ceramic artists were selected for interviewing. They were Tony Ong, Chin-Pi Lee, Peng-Fei Wu, Pang-Ling Chou, Cha-Lin Chi, Shih-mei Chao, Kuan-Yin Liang, Ching-Yuan Chang, Wei-Pin Hsu, and Huey-Na Hsu. The owners of the art galleries which contacted with these artists were also interviewed. The purpose of the study is to depict the whole development of Raku in Taiwan. The interview was focused on two perspectives: first, to explore ceramic artists’ personal experiences and achievements of Raku creation; second, to investigate the condition of Raku productions in Taiwanese art market . This study found that about 1992-2001 was the most active period of Raku creation in Taiwan. This was also the most prosperous period of Taiwanese economics. Then there were a series of social upheavals occurred such as the stroke of 921 Jiji Big Earthquake in 1999, regime transformation, and the shift out of foreign investors. The economics decline resulted in the depression of art creation At present, only some amateur performances exist. Almost all the owners of art galleries pointed out that Raku products were not accepted in Taiwanese art market mainly resulted from their four characteristics 1) fragile, 2) functionless, 3) dull, and 4) lack of style . However, there are some owners of art galleries expressed their optimistic point of view to the market of Raku products. They believe that a really good work will still find a way. After all, this is a market that has never been opened in Taiwan before.

碩士
東方設計學院
文化創意設計研究所
102
Raku Taiwan may be deemed as nullity of development in the past decade; Taiwan had preliminary knowledge of Raku in 1984 and since then, due to low market demand, a majority of contemporary writers have changed Raku into an educational performance of ceramic art. In this era, Taiwanese artists might know Raku, but yet with records showing actually. Knowledge as to Raku remains as one recognized in public 25 years ago. The difficulty lies in facts as follows, firstly, insufficiency of Chinese literature related with Raku which caused only Japanese and English books are available for retrieval information, secondly, Taiwan has relied on imported raw materials, which needs the existing materials from importers for comparison with temperature of frits and adjusted against ratio, at last, achieving success. Currently, [RAKU] is popular among artists around the world where the masterpieces’ metal oxide restores back to its gold look under a forced recovery atmosphere, is in a form of RAKU unique to works from other firing methods and with irreplaceable nature. In this study, experimental Raku gold glaze, Raku white glaze, colorful Raku glaze, horse hair burning, copper wire burning and Raku mud glaze were served as creation of glaze, among of which, US-based frit at low temperature were replaced by Taiwan's existing raw materials along with adjustment to 1050 degrees as a unity, at last, revivification of fuel after burning and smoking ...... etc. Raku-based experimental records are incorporated therein. The results were shared in this thesis and finally were developed in personal creation with contemporary American Raku creators’ related technology.

Rak endometrium jest jednym z najczęściej diagnozowanych ginekologicznych nowotworów złośliwych na świecie i dotyczy przede wszystkim kobiet w wieku około- i pomenopauzalnym. W populacji polskiej zajmuje on czwartą pozycję pod względem zachorowalności wśród chorób nowotworowych, a liczba jego przypadków uległa podwojeniu w ciągu ostatnich dekad. W związku z postępującym starzeniem się społeczeństwa polskiego, na co wskazują dane statystyczne, w najbliższej przyszłości należy spodziewać się znacznego wzrostu liczby nowych przypadków zachorowań na ten typ nowotworu. Obowiązująca klasyfikacja kliniczno-patologiczna wyróżnia w obrębie nowotworów endometrium dwa typy, tj. raki endometrioidalne oraz nieendometriodalne. Pierwszy z nich obejmujący przede wszystkim gruczolakoraki endometrium stanowi najliczniejszą grupę pod względem częstości występowania, wynoszącą 75%-85%. Pomimo korzystnego rokowania dla tego typu nowotworu, śmiertelność nim powodowana uzależniona jest od stopnia zaawansowania procesu nowotworowego. W przypadku stadiów zaawansowania FIGO I wynosi ona ok. 20%, podczas gdy w stadium FIGO IV jest to aż ok. 75%. Pomimo postępu w dziedzinie biomedycyny brak jest ciągle dobrze zdefiniowanych markerów molekularnych mogących stanowić uzupełnienie klasycznych metod obrazowania, bądź służących monitorowaniu przebiegu procesu leczenia raka endometrium. Liczne badania wskazują na kluczowe znaczenie sygnalizacji indukowanej transformującymi czynnikami wzrostu typu β (TGFβ) zarówno w procesach fizjologicznych, jak i patologiach człowieka. Kaskada sygnalizacyjna TGFβ aktywowana jest przez liczną rodzinę białek o aktywności cytokin, co znajduje odzwierciedlenie w modulacji różnorodnych procesów komórkowych, takich jak proliferacja, różnicowanie, ruchliwość, adhezja, angiogeneza, odpowiedź immunologiczna czy apoptoza. W literaturze opisano znaczącą rolę tych czynników w procesie transformacji nowotworowej, gdzie ujawnia się ich plejotropowy charakter. We wczesnych stadiach karcynogenezy ograniczają one proliferację komórek nowotworowych, podczas gdy w późniejszych etapach przyczyniają się do progresji guza oraz jego przerzutowania. Sygnalizacja za pośrednictwem TGFβ możliwa jest dzięki obecności w błonie komórkowej dwóch typów receptorów, tj. TGFβ typu I i TGFβ typu II, wykazujących aktywność kinaz serynowo/treoninowych. Ponadto modulacja sygnału w kaskadzie jest regulowana za pośrednictwem receptorów pomocniczych, określanych w literaturze jako receptory TGFβ typu III. Funkcją receptorów pomocniczych, do których należy betaglikan, jest prezentowanie czynników TGFβ ich receptorom TGFβRI i TGFβRII. Zainicjowany zewnątrzkomórkowo sygnał przekazywany może być do wnętrza komórki na drodze kanonicznej, tj. Smad-zależnej lub w sposób niekanoniczny na skutek interakcji z białkami efektorowymi innych szlaków sygnałowych w komórce. Celem niniejszej pracy była ocena ekspresji betaglikanu oraz identyfikacja potencjalnych mechanizmów molekularnych mogących wpływać na jej zaburzenie w raku endometrium. Analizie poddano metylację regionu promotorowego genu TGFBR3, transkrypcyjną regulację ekspresji betaglikanu przy udziale czynnika GATA3, w tym metylację regionu promotorowego genu GATA3, utratę heterozygotyczności (LOH) w locus genu kodującego betaglikan oraz polimorfizm pojedynczych nukleotydów (SNP) w genie TGFBR3. W badaniach wykorzystano techniki z zakresu biologii molekularnej i genetyki w tym reakcję PCR w czasie rzeczywistym z użyciem sond fluorescencyjnych TaqMan®, Western blotting, metylospecyficzną reakcję PCR oraz analizę długości fragmentów reakcji PCR przeprowadzoną w automatycznym sekwenatorze DNA. Łącznie przebadano 133 przypadki raka endometrium, 69 preparatów prawidłowego endometrium oraz 248 preparatów krwi obwodowej pochodzących od kobiet, u których niezdiagnozowano choroby nowotworowej. Materiał badawczy otrzymano w ramach współpracy z prof. dr. hab. Andrzejem Semczukiem z II Katedry i Kliniki Ginekologii Uniwersytetu Medycznego w Lublinie oraz współpracy prof. dr hab. Magdaleny Bryś (Katedra Cytobiochemii UŁ) z prof. dr. hab. Andrzejem Bieńkiewiczem oraz dr Katarzyną Wójcik-Krowirandą z Katedry Ginekologii Onkologicznej Uniwersytetu Medycznego w Łodzi. Uzyskane wyniki wskazują na istotne statystycznie obniżenie ekspresji betaglikanu w 100% przypadków raka endometrium w odniesieniu do materiału prawidłowego, zarówno na poziomie mRNA, jak i białka. Obserwowany spadek poziomu ekspresji tego receptora pomocniczego szlaku TGFβ w raku endometrium wydaje się mieć związek z występowaniem różnorodnych zdarzeń molekularnych, a ich charakter determinowany jest cechami osobniczymi. Stwierdzono, że obniżenie ekspresji betaglikanu w raku endometrium może być wynikiem zarówno utraty heterozygotyczności w locus genu TGFBR3, jak i metylacji w regionie jego promotora proksymalnego czy modulowania jego transkrypcji, której pośredniczy czynnik GATA3. Ponadto, w raku endometrium polimorfizm pojedynczych nukleotydów genu TGFBR3 może mieć także wpływ na składanie i stabilność jego transkryptu. Postępujący wraz ze stadium zaawansowania procesu nowotworowego endometrium spadek ekspresji betaglikanu może skutkować zmianą funkcji szlaku TGFβ z supresorowej na promującą progresję i przerzutowanie nowotworu. Dodatkowo obserwowane zmiany molekularne mogą przyczynić się do zaburzenia sygnalizacji TGFβ, zakłócając równowagę pomiędzy sygnalizacją kanoniczną i niekanoniczną.
Endometrial cancer is one of the leading gynecological malignant tumor occurring in women in their menopausal and postmenopausal age. In polish population its incidence rate takes the fourth position among other cancer related diseases. The total number of new cases has doubled since the last three decades as it is observed in Poland. Due to the progressive ageing of the polish society, the substantial increase of endometrial cancer incidence rate in the near future may be expected. The current clinico-pathological classification of endometrial cancer includes two types, i.e., type I – endometrioid and type II nonendometrioid cancers. Endometrial cancer type I is mostly diagnosed as endometrial adenocarcinoma with 75%-85% incidence. Despite favorable prognosis for the patients with endometrial cancer its related morbidity is strongly associated with diagnosed cancer aggressiveness. Thus, in the case of cancers classified as FIGO I stage it is about 20%, whereas in the most advanced stage FIGO IV it reaches even 75%. Regardless the advancement in the current biomedicine, there is still the lack of well-defined molecular marker, which could serve in diagnosis or the evaluation of the effectiveness of anticancer therapy. Numerous studies indicate the crucial role of the cellular signaling induced by transforming growth factor β type (TGFβ) in human both physiological and pathological conditions. TGFβ signaling cascade is activated by the diverse set of cytokines what can be observed in modulation of different physiological processes, such as cell proliferation, differentiation, migration, cellular adhesion, angiogenesis, immunological response or apoptosis. According to the literature data TGFβ pathway plays a pleiotropic role during neoplastic transformation. In the early stages of carcinogenesis TGFβ acts as a suppressor of cancer cell proliferation, whereas in the more advanced stages it promotes tumor progression and metastasis. TGFβ signaling requires the activity of two types of serine/threonine transmembrane receptor kinases, i.e., TGFβ receptors type I and type II. Moreover, it can be modulated by transmembrane or membrane bound accessory receptors which are termed as TGFβ receptors type III. The accessory receptors, which are represented by betaglycan, are responsible for TGFβ ligand presentation to the TGFβ receptors type I and type II. After extracellular initiation, induced signal is transmitted to the cytoplasm in either Smad-dependent or Smad–independent rout due to the interactions with effector proteins of other signaling pathways. The aim of the current study was the evaluation of betaglycan expression and the identification of potential molecular mechanisms responsible for its alterations in endometrial cancer. The analysis included methylation of TGFBR3 promoter region, betaglycan transcriptional regulation mediated by transcription factor GATA3 and methylation of GATA3 promoter region, loss of heterozygosity (LOH) in TGFBR3 locus and TGFB3 polymorphisms. Following molecular and genetic methods, i.e., real-time PCR with fluorescent TaqMan® probes, Western blotting, methylation specific PCR and PCR products length analysis in DNA sequencer were applied in this study. The study group consisted of 133 endometrial cancer samples, 69 normal endometrial tissue samples and 248 peripheral blood samples. Collected tissue samples were obtained due to the collaboration with professor Andrzej Semczuk from IInd Department of Gynecology, Lublin Medical University and due to the collaboration between professor Magdalena Bryś from the University of Lodz with professor Andrzej Bieńkiewicz and doctor Katarzyna Wójcik-Krowiranda from Department of Gynecology, Medical University of Lodz. Obtained results indicate that betaglycan mRNA and protein expression was significantly downregulated in 100% of studied endometrial cancer samples comparing to the normal tissue. Observed decrease seems to be associated with various molecular mechanisms, and their nature is determined by individual diversity among patients. As it has been shown, the molecular mechanisms responsible for betaglycan loss in endometrial cancer include the loss of heterozygosity in TGFBR3 gene locus, methylation of TGFBR3 gene proximal promoter, as well as transcriptional modulation mediated by GATA3 transcription factor. Furthermore, single nucleotide polymorphisms in TGFBR3 gene may have also potential impact on betaglycan transcript processing and stability in this tumor type. Betaglycan gradual decrease of expression associated with cancer development can be responsible for the switch of TGFβ cascade function from tumor suppressive to promoting cancer progression and metastasis. Furthermore, observed molecular changes may certainly deregulate TGFβ induced signal transmission resulting in interruption of equilibrium between TGFβ canonical and non-canonical pathways.
PRACA DOKTORSKA REALIZOWANA W RAMACH PROJEKTÓW: „DOKTORANCI – REGIONALNA INWESTYCJA W MŁODYCH NAUKOWCÓW – AKRONIM D-RIM, II-EDYCJA” WSPÓŁFINANSOWANEGO PRZEZ UNIĘ EUROPEJSKĄ ZE ŚRODKÓW FUNDUSZU SPOŁECZNEGO W RAMACH PROGRAMU OPERACYJNEGO KAPITAŁ LUDZKI, PRIORYTET VIII, PODDZIAŁANIE 8.2.1,„CZŁOWIEK NAJLEPSZA INWESTYCJA”; „MOLEKULARNE PODŁOŻE ZABURZENIA EKSPRESJI BETAGLIKANU W RAKU ENDOMETRIUM” NR 2011/01/N/NZ4/01723 FINANSOWANEGO ZE ŚRODKÓW NARODOWEGO CENTRUM NAUKI W LATACH 2011-2013; FINANSOWANYCH W RAMACH DOTACJI NA DZIAŁALNOŚĆ POLEGAJĄCĄ NA PROWADZENIU BADAŃ NAUKOWYCH LUB PRAC ROZWOJOWYCH ORAZ ZADAŃ Z NIMI ZWIĄZANYCH SŁUŻĄCYCH ROZWOJOWI MŁODYCH NAUKOWCÓW ORAZ UCZESTNIKÓW STUDIÓW DOKTORANCKICH W LATACH 2011-2013

This practice-led research project focuses on the investigation of alternative surface application techniques for a ceramic substrate with the aim of developing a new method to adhere glaze to a ceramic body. My research question, ‘How can molten glaze be applied to ceramic substrates allowing successful fusing of materials?’ is investigated by integrating the ceramic raku process with methods from both metalsmithing and hot glass production. By melting glaze material within a crucible, then pouring onto a bisque ceramic body, glaze manipulation, while the glaze was still molten, was undertaken. By trialing and testing an easily replicated glazing technique, this research enabled experimentation with a new range of possible surface effects achievable in the raku kiln, thereby adding knowledge for the research community and providing further developmental avenues for the ceramic practitioner. To this date, no research had been published covering this aspect of glazing, yet this is an important area of research. As a result of developing this project, a range of unforeseen Occupational Health and Safety issues regarding conducting such research in ceramic studios, both commercial and private, has been investigated. This is discussed, along with the ramifications of this outcome for both academic and professional ceramic artists. The thesis consists of a creative component in the form of a body of creative work created during the project, and a related scholarly exegesis.

Rak endometrium to nowotwór narządu rodnego kobiet, który diagnozuje się przeważnie u kobiet u których często występuje otyłość, nadciśnienie tętnicze i cukrzyca. Istotną rolę w rozwoju i progresji wielu nowotworów, w tym raka endometrium odgrywa szlak kinazy AKT. Ważną rolę w regulacji aktywności kinazy AKT odgrywają fosfatazy, które pośrednio (PTEN) lub bezpośrednio (PP2A, PHLPP1/2) wpływają na jej defosforylację. Sugeruje się, że na regulację szlaku AKT może wpływać również białko BMI-1, będące składnikiem kompleksu represyjnego PRC1, który wpływa na zahamowanie ekspresji wielu genów. Zaburzenia w aktywności lub ekspresji białka BMI-1 w komórkach nowotworowych może prowadzić do zwiększonej migracji, proliferacji i inwazji komórek. Wynik badań wykazują, że zarówno zwiększona ekspresja, jak i obniżona ekspresja białka BMI-1 wpływa na progresję nowotworów. Rola białka BMI-1 w nowotworach endometrium nie jest dobrze poznana. Ostatnie badania sugerują, że białko BMI-1 może mieć istotny związek z insulinoopornością i regulacją szlaku insuliny w komórkach wątroby. Z kolei dane epidemiologiczne wskazują, że otyłość i zwiększone stężenie insuliny we krwi wynikające z insulinooporności są poważnymi czynnikami ryzyka raka endometrium. Głównym celem prezentowanej pracy było określenie roli białka BMI-1 w regulacji szlaku kinazy AKT w raku endometrium oraz jego wpływu na potencjał migracyjny i inwazyjny komórek. W badaniach wykorzystano dwie linie komórkowe raka endometrium oraz materiał kliniczny pochodzący od pacjentek z rakiem endometrium. Wyniki przeprowadzonych badań sugerują, że BMI-1 może odgrywać rolę czynnika, który łączy hiperglikemię i insulinooporność z rozwojem i progresją raka endometrium poprzez regulację AKT, a jego działanie zależy od kontekstu molekularnego przede wszystkim ekspresji funkcjonalnej fosfatazy PTEN.