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The Literature of Kita Morio DISSERTATION Presented In
Insignificance Given Meaning: The Literature of Kita Morio DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Masako Inamoto Graduate Program in East Asian Languages and Literatures The Ohio State University 2010 Dissertation Committee: Professor Richard Edgar Torrance Professor Naomi Fukumori Professor Shelley Fenno Quinn Copyright by Masako Inamoto 2010 Abstract Kita Morio (1927-), also known as his literary persona Dokutoru Manbô, is one of the most popular and prolific postwar writers in Japan. He is also one of the few Japanese writers who have simultaneously and successfully produced humorous, comical fiction and essays as well as serious literary works. He has worked in a variety of genres. For example, The House of Nire (Nireke no hitobito), his most prominent work, is a long family saga informed by history and Dr. Manbô at Sea (Dokutoru Manbô kôkaiki) is a humorous travelogue. He has also produced in other genres such as children‟s stories and science fiction. This study provides an introduction to Kita Morio‟s fiction and essays, in particular, his versatile writing styles. Also, through the examination of Kita‟s representative works in each genre, the study examines some overarching traits in his writing. For this reason, I have approached his large body of works by according a chapter to each genre. Chapter one provides a biographical overview of Kita Morio‟s life up to the present. The chapter also gives a brief biographical sketch of Kita‟s father, Saitô Mokichi (1882-1953), who is one of the most prominent tanka poets in modern times. -
Vincent Van Gogh Et Le Japon Vincentvangoghetle Apon け4
"Vincent Van Gogh et le Japon", conférence donnée au centenaire de la mort du peintre à Auvers-sur-Oise,le premier juin 1990, Jinbunronsô,『人文論叢』､三重大学人文学部 Faculty of Humanities and Social Sciences, Mié University, March 25, 1991 pp.77-93. linbun linbun Jinbun RonsoRonso,， Mie University No. 8 ,1991，1991 Vincent Van Gogh et le JJaponapon -au centenaire de la mort du peintre conferenceconférence donneedonnée aà Auvers-sur-OiseAuvers-sur-Oise.!， /1 1 juin 1990 け11ft4 Shigemi IN AG A MesdamesMesdames,， mesdemoiselles mesdemoiselles, ， messieursmessieurs, ， mes chers amis ,， Je Je suis tres très f1 flatté atte d'etre d'être invite invité par le Bateau DaphneDaphné aà participer aà une manifestaion qu'il a organisee organisee organisée sous les auspices de l' l'AmbassadeAmbassade du Japon. C' C'est est aussi pour moi un grand honneur de vous parler de nouveau de Van GoghGogh,， en commemorationcommémoration de son centenaire. En effet effet, ， j'ai deja deja déjà eu l' l'occasion,occasion ， en automne 1987 1987,， d'assurer une conference conférence au Centre culturel et d'informa- d'informa tion tion de l' l'AmbassadeAmbassade du ]aJaponpon a Paris . (I (l)Kenneth )Kenneth WhiteWhite,， poete poète voyageur et moimoi,， en tant qu' historien historien d'art d'art,， nous avons presente présenté un artiste japonais que nous admirons tous les deux: Hiroshige. Hiroshige. 11 Il s'agissait de feter fêter un peu officiellement la publication en francais français d'un superbe album de Hiroshige : Cent vues celebres célèbres d'Edoquid'Edo, qui reunit réunit les dernieres dernières images laissees laissées par ce dessinateur dessinateur de l' l'estampeestampe japonaise. -
Japonisme in Britain - a Source of Inspiration: J
Japonisme in Britain - A Source of Inspiration: J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan. Thesis Submitted for the Degree of Doctor of Philosophy in the Department of History of Art, University of Glasgow. By Ayako Ono vol. 1. © Ayako Ono 2001 ProQuest Number: 13818783 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818783 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 GLASGOW UNIVERSITY LIBRARY 122%'Cop7 I Abstract Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called Japonisme , and it spread widely throughout Western art. It is quite hard to make a clear definition of Japonisme because of the breadth of the phenomenon, but it could be generally agreed that it is an attempt to understand and adapt the essential qualities of Japanese art. This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933). -
The Letters of Vincent Van Gogh
THE LETTERS OF VINCENT VAN GOGH ‘Van Gogh’s letters… are one of the greatest joys of modern literature, not only for the inherent beauty of the prose and the sharpness of the observations but also for their portrait of the artist as a man wholly and selessly devoted to the work he had to set himself to’ - Washington Post ‘Fascinating… letter after letter sizzles with colorful, exacting descriptions … This absorbing collection elaborates yet another side of this beuiling and brilliant artist’ - The New York Times Book Review ‘Ronald de Leeuw’s magnicent achievement here is to make the letters accessible in English to general readers rather than art historians, in a new translation so excellent I found myself reading even the well-known letters as if for the rst time… It will be surprising if a more impressive volume of letters appears this year’ — Observer ‘Any selection of Van Gogh’s letters is bound to be full of marvellous things, and this is no exception’ — Sunday Telegraph ‘With this new translation of Van Gogh’s letters, his literary brilliance and his statement of what amounts to prophetic art theories will remain as a force in literary and art history’ — Philadelphia Inquirer ‘De Leeuw’s collection is likely to remain the denitive volume for many years, both for the excellent selection and for the accurate translation’ - The Times Literary Supplement ‘Vincent’s letters are a journal, a meditative autobiography… You are able to take in Vincent’s extraordinary literary qualities … Unputdownable’ - Daily Telegraph ABOUT THE AUTHOR, EDITOR AND TRANSLATOR VINCENT WILLEM VAN GOGH was born in Holland in 1853. -
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Ames, Catherine (2018) A Festival of Mysticism : Akutagawa Ryūnosuke, Narrative Form and the Politics of Subject Formation. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/32461 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. A Festival of Mysticism: Akutagawa Ryūnosuke, Narrative Form and the Politics of Subject Formation Catherine Ames Thesis submitted for the degree of PhD 2018 Department of the Languages and Cultures of Japan and Korea SOAS, University of London Contents Acknowledgements 5 Abstract 7 Introduction to the Thesis: “A Festival of Mysticism” 9 Key Terms: Realism versus Modernism 13 Genesis of the Thesis and Literature Review 19 Methodology 32 Choice of Texts 33 Akutagawa: A Writer Steeped in Western Literature 40 Theoretical Situatedness 50 Guide for Chapters to Follow 56 Chapter 1: Critical and Historical Context 62 -
Looking East: Vincent Van Gogh and Japan
Looking east: Vincent van Gogh and Japan CLIVE YOU Abstract During the formative years of his life in Arles, Vincent van Gogh became deeply enamoured with the art of Japan. This vision, while short-lived, was crucial for the eventual flowering of his unique painting style. Therefore, it is vital for us to understand the Japanese aesthetics and philosophy hidden in his paintings. This article commences with a discussion on the origins of van Gogh’s Japonism interests, and then proceeds with an analysis of how this manifested itself in three periods of his ‘Japanese Era’, including where it drew on Japanese study, philosophy and utopia as well as paintings and prints. The visual analysis technique is widely utilised in this article to consider van Gogh’s paintings and the Japanese influences on their colour, line, texture and size. The research shows that van Gogh established a rich connection to Japanese aesthetics and created the largest numbers of masterpieces of his career in his ‘Japanese Era’. Origin Vincent van Gogh first expressed an interest in Japonaiserie in 1885 while he stayed in Antwerp. At that time, he already owned some Japanese prints; their exotic nature was the primary reason for his fondness of them. In one of his letters, he wrote that he was very much delighted by the Japanese prints he pinned on his walls. Later, when he moved to Paris, he read far more about Japan, and studied a substantial number of Japanese prints. The countryside played a more important role in his career and in his existence as an artist because of the inspiration of peace and beauty that nature provided to his work.1 Eventually, while he lived in Arles, Japanese art and philosophy became major inspirations for van Gogh, affecting his paintings, behaviours and values. -
Exposition Van Gogh Et La Naissance Du Cloisonnisme - Toronto 1981 Vue De L'ensemble
93. EXPOSITION VAN GOGH ET LA NAISSANCE DU CLOISONNISME - TORONTO 1981 VUE DE L'ENSEMBLE Marcel Chabot Universite de Windsor Une des plus prestiqieuses expositions musiologiques, illustrant tout un aspect fascinant de la peinture moderne, constituant en somme une pr~face a 1 'ivolution artistique relativement peu explorie de la fin du 1ge si~cle, s'est organisie avec eclat au Musee des Beaux-Arts de la province d'Ontario a Toronto. Le terme "cloisonnisme" devra desormais faire prime, grace surtout a la participation exemplaire de Mme Bogomila Welsh-Ovcharov, d~nt les recherches mettent en lumiere les contributions des cloisonn;stes, et grace egalement a la collaboration tres etroite du celebre Rijks museum - Vincent van Goqh d'Amsterdam. Le succ~s universelle ment reconnu de cette vaste entreprise savamment menee-nous n'avons quIa songer a cette t8che formidable de rfiunir plus de 150 oeuvres provenant de plusieurs collections-a im press;onne les critiques d'art, les spicialistes et tout un public d'amateurs. Constatons des le debut que ce que lIon avait baptise, tant bien que mal, le "post':'impressionisme," terme qui s'avere depuis longtemps inadequat, s'~lucide d'une fa~on tres particuliere dans cette abondante exposition. En meme temps, nous attendons avec impatience la parution de la these de Mme Welsh-Ovcharov portant sur le mouvement cloisonniste. Somme toute, nous allons suivre de tres pres le plan de l'exposition qui est etabli selon les normes de la chronologie, mais aussi en fonction des hauts lieux de cette activite creatrice, a savoir: 94. Paris - Bretagne 1886-R7; St - Briac(en Bretagne) 1 a Marti n i que Paris 1887-88; St - Briac Pont - Aven (ega1ement en Bretagne) 1888-89; Ar1es (en Provence, sorte d'apogee) 1888-89; St - R~my (en Provence) Bretagne Paris 1889·90; Le ou1du (en Bretagne) 1889-91; Auvers (o~ Vincent trouva la mort) 1890; et enfin de nouveau Piris1889-93. -
Portrait Vincent Van Gogh
Portrait Vincent Van Gogh . Vincent was born in 1853 in the Netherlands. He tried to be preacher, a school teacher, and an art dealer before embarking on his career. Van Gogh spent 2 years sharpening his drawing skills before he allowed himself to use color or paint. He was almost entirely self-taught. His closest friend and relative was his brother Theo, and art dealer, who also supported him financially. Vincent Spent his life in poverty, choosing to spend money on paints rather than food to eat. His early paintings portrayed the lives of poor farmers and coal miners. The colors he used were dull and dark. Later, he was strongly influenced by the Impressionists of the day. With time he became much bolder in his paintings. He began to use slashing brush strokes and clear, bright colors. He was a pioneer for expressionism. Expressionists profoundly show their emotions through their paintings. The Potato Eaters 1885 Van Gogh Museum, Amsterdam, Netherlands This painting was Van Gogh’s first major work and would also be his only painting in a group setting. Coalmine in the Borinage 1879 Still Life with Beer Mug and Fruit 1881 Some of Van Gogh’s early paintings of farmers. Why do you think he used dull and dark colors in these early works? A Digger 1881 Sower with Basket 1881 Girl Kneeling in Front of a Bucket, 1881 La chambre de Van Gogh à Arles (Van Gogh’s Room at Arles) 1889 (200Kb); Oil on canvas, 57 x 74 cm (22 1/2 x 29 1/3 in); Musee d’Orsay, Paris Vincent’s Chair and Pipe What are the differences in these chairs? "Vincent's chair with -
Rhythmic Brushstrokes Distinguish Van Gogh from His Contemporaries
IEEE TRANSACTIONS ON PATTERN ANALYSIS AND MACHINE INTELLIGENCE 1 Rhythmic Brushstrokes Distinguish van Gogh from His Contemporaries: Findings via Automated Brushstroke Extraction Jia Li, Senior Member, IEEE, Lei Yao, Student Member, IEEE, Ella Hendriks, and James Z. Wang, Senior Member, IEEE. Abstract— Art historians have long observed the highly the paintings by Vincent van Gogh were mostly based on color or characteristic brushstroke styles of Vincent van Gogh and local visual features such as texture or edges [2], [12]. Although have relied on discerning these styles for authenticating and the extraction of brushstrokes or brushstroke related features have dating his works. In our work, we compared van Gogh with been investigated [5], [13], [27], [19], [3], it is not evident that his contemporaries by statistically analyzing a massive set of automatically extracted brushstrokes. A novel extraction method these methods can be used readily to find a large number of is developed by exploiting an integration of edge detection and brushstrokes for a relatively general collection of van Gogh’s clustering-based segmentation. Evidence substantiates that van paintings. For instance, one particular painting of van Gogh is Gogh’s brushstrokes are strongly rhythmic. That is, regularly discussed in [27], and some manual operations are necessary shaped brushstrokes are tightly arranged, creating a repetitive to complete the process of extracting brushstrokes. In [13], to and patterned impression. We also found that the traits that find brushstrokes, manual input is required; and the method distinguish van Gogh’s paintings in different time periods of his is derived for paintings drastically different from van Gogh’s. -
8 Art of Japan: Woodblock Printing
Art of Japan: Woodblock Printing /8 Name:__________________________ This process involved transferring and 1. Why is the woodblock printing process inexpensive? (1) cutting pictures into wood blocks, inking the surface of these blocks, and printing. Using this technique, an artist could produce as many inexpensive prints as needed. Originally prints were made with 2. Look at A Woman Dancer woodcut by Torii Kiyonobu I and black ink on white paper. explain how does the artist create a sense of movement in this work? (1) In the 18th century a process for producing multi-coloured prints was developed. A separate block was prepared for each colour. Finally the printer inked each block and pressed 3. How does Katsusika Hokusai create a sense of movement each one against the paper, being in his famous Under the Wave off Kanagawa woodcut from careful to align the print. 1823-29? (1) Torii Kiyonobu I He was an actor's son who often selected as his subjects actors from the Kabuki theatre. His picture of a woman dancer uses a characteristic bold line that flows across the paper to create a complex yet Torii Kiyonobu I. A Woman graceful rhythm of curved Dancer. 1708. Woodblock print. lines and patterns. Katsushika Hokusai From about 1825 to 1831 Hokusai published his brilliant Mount Fuji series of prints. "The Great Wave off Kanagawa" shows Mount Fuji in the distance, beyond a huge wave that threatens to destroy the fishing boats that are almost lost in the violently churning sea. Katsusika Hokusai. Under the Wave off Kanagawa. c. 1823-29. -
Van Gogh and Britain’, Tate Britain, 27 March–11 August 2019
‘Van Gogh and Britain’, Tate Britain, 27 March–11 August 2019 Reviewed by: Christopher Cook The Literary London Journal, Volume 16, Number 1 (Autumn 2020) Since his death in 1890 each generation has reinvented Vincent van Gogh in their own image, from the bold colourist who prefigured Modernism to the existential outsider of the second half of the twentieth century. So far not so bad at Tate Britain where curator Carol Jacobi follows this particular thread through a large, though perhaps over-inflated, exhibition: ‘Van Gogh and Britain’. Jacobi’s narrative begins with the arresting portrait of L’Arlésienne from 1890 with two of Van Gogh’s favourite English books on Marie Ginoux’s table, Dickens’s Christmas Stories and Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852), followed by work by the English painters Van Gogh came to admire during his two years in London from 1873. We end – of course – with Francis Bacon’s reworking of The Painter on the Road to Tarascon (1888), destroyed during the Second World War. However, we really begin with a story about how and where Van Gogh found his style and subject matter and end with a clutch of British artists who very loosely may be said to have admired and to have learnt from him. Effectively this is two exhibitions in one and however hard the catalogue and the captions on the walls of each room attempt to paper over the crack, that judgement persists. It is not even banished by seeding so many crowd pleasers through show – L’Arlésienne and Sunflowers (1888) and Starry Night (1889), not to be looked at but snapped on mobile phones by a jostling throng hungry for their own ‘Vincent’. -
Madame Chrysanthème As an Item of Nineteenth-Century French
MADAME CHRYSANTHEME AS AN ITEM OF NINETEENTH-CENTURY FRENCH JAPONAISERIE Heather McKenzie A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at the University of Canterbury 2004 II ACKNOWLEDGEMENTS How did I meet you? I don't know A messenger sent me ill a tropical storm. You were there in the winter, Moonlight on the snow, And on Lillypond Lane When the weather was warm. Bob Dylan Any experience is coloured by the people with whom we share it. My Ph.D. years were brightened by the following kaleidoscope of people: · .. my family who have supported me in whatever I have chosen to do: Andrew for being a dependable brother; Fay, the best nan with her sparkle and baking talents; John, a generous and wise father; Mark, a like-minded companion and source of fine port; and Rowena for being an encouraging mother and friend. · .. Ken Strongman, mentor and friend for absolutely anything. · .. Greg my best friend, from across the corridor or from across the Pacific: a true amigo para siempre . ... Maureen Heffernan, who I enjoy knowing in a number of contexts: out running, in the consulate office, or across the table over dinner. ... Dave Matheson, a helpful, unassuming, and quietly supportive friend who appeared at just the right time. · .. Andrew Stockley whose friendship percolated through the latter stages of my Ph.D. life. '" Chris Wyeth, for friendship and support given over a long period of time. '" Nick, Kathryn, Steve, Rachel, Glen, and Natasha for their laughter and companionship. '" Sayoko Yabe for her energy and generosity.