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A Set of Japanese Word Cohorts Rated for Relative Familiarity
A SET OF JAPANESE WORD COHORTS RATED FOR RELATIVE FAMILIARITY Takashi Otake and Anne Cutler Dokkyo University and Max-Planck Institute for Psycholinguistics ABSTRACT are asked to guess about the identity of a speech signal which is in some way difficult to perceive; in gating the input is fragmentary, A database is presented of relative familiarity ratings for 24 sets of but other methods involve presentation of filtered or noise-masked Japanese words, each set comprising words overlapping in the or faint signals. In most such studies there is a strong familiarity initial portions. These ratings are useful for the generation of effect: listeners guess words which are familiar to them rather than material sets for research in the recognition of spoken words. words which are unfamiliar. The above list suggests that the same was true in this study. However, in order to establish that this was 1. INTRODUCTION so, it was necessary to compare the relative familiarity of the guessed words and the actually presented words. Unfortunately Spoken-language recognition proceeds in time - the beginnings of we found no existing database available for such a comparison. words arrive before the ends. Research on spoken-language recognition thus often makes use of words which begin similarly It was therefore necessary to collect familiarity ratings for the and diverge at a later point. For instance, Marslen-Wilson and words in question. Studies of subjective familiarity rating 1) 2) Zwitserlood and Zwitserlood examined the associates activated (Gernsbacher8), Kreuz9)) have shown very high inter-rater by the presentation of fragments which could be the beginning of reliability and a better correlation with experimental results in more than one word - in Zwitserlood's experiment, for example, language processing than is found for frequency counts based on the fragment kapit- which could begin the Dutch words kapitein written text. -
Analysis of Japanese and Finnish Furniture
University of Lapland, Faculty of Art and Design Name of the Pro gradu thesis: ANALYSIS OF JAPANESE AND FINNISH FURNITURE DESIGN: A consideration for product identity and the relativity of industrial development and cultural context Writer: Akiko Nakatani Degree programme: Industrial Design Type of the work: Pro gradu thesis Number of pages: 97 pages, 3 attachments Year: Spring 2011 Summary In a globalized product design market, firms take national identity into consideration to survive among the competitors, because a particular identifying feature can be the decision making factor for customers to buy a particular product. In such a situation, you may realize something as “Japanese-like” or “Finnish-like” in designs as you hold the product in your hand. But why do you think like that? The aim of this study is to clarify the factors that characterize these ideas, in terms of furniture design, with a focus on industrial development and the cultural contexts of Japan and Finland. The study is twofold, with a theoretical framework and an empirical framework. The theoretical analysis works with cultural industrial context and also argues that the transition of industrial development significantly affects national product design orientation and helps characterize products. The empirical analysis works with questionnaires concerning product image. The results conceptualize cultural references in both Japanese and Finnish furniture design. However, the results also present the realistic difficulty of recognizing products. The paper concludes by arguing that factors affecting customer’s decision making are also influenced by not only product design but the socio-culture they belong to. Therefore, measuring product image is not the only way to define national product identity, and the image is formed by both customers and product design factors. -
The Lesson of the Japanese House
Structural Studies, Repairs and Maintenance of Heritage Architecture XV 275 LEARNING FROM THE PAST: THE LESSON OF THE JAPANESE HOUSE EMILIA GARDA, MARIKA MANGOSIO & LUIGI PASTORE Politecnico di Torino, Italy ABSTRACT Thanks to the great spiritual value linked to it, the Japanese house is one of the oldest and most fascinating architectural constructs of the eastern world. The religion and the environment of this region have had a central role in the evolution of the domestic spaces and in the choice of materials used. The eastern architects have kept some canons of construction that modern designers still use. These models have been source of inspiration of the greatest minds of the architectural landscape of the 20th century. The following analysis tries to understand how such cultural bases have defined construction choices, carefully describing all the spaces that characterize the domestic environment. The Japanese culture concerning daily life at home is very different from ours in the west; there is a different collocation of the spiritual value assigned to some rooms in the hierarchy of project prioritization: within the eastern mindset one should guarantee the harmony of spaces that are able to satisfy the spiritual needs of everyone that lives in that house. The Japanese house is a new world: every space is evolving thanks to its versatility. Lights and shadows coexist as they mingle with nature, another factor in understanding the ideology of Japanese architects. In the following research, besides a detailed description of the central elements, incorporates where necessary a comparison with the western world of thought. All the influences will be analysed, with a particular view to the architectural features that have influenced the Modern Movement. -
Delft University of Technology Tatami
Delft University of Technology Tatami Hein, Carola Publication date 2016 Document Version Final published version Published in Kyoto Design Lab. Citation (APA) Hein, C. (2016). Tatami. In A. C. de Ridder (Ed.), Kyoto Design Lab.: The tangible and the intangible of the Machiya House (pp. 9-12). Delft University of Technology. Important note To cite this publication, please use the final published version (if applicable). Please check the document version above. Copyright Other than for strictly personal use, it is not permitted to download, forward or distribute the text or part of it, without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license such as Creative Commons. Takedown policy Please contact us and provide details if you believe this document breaches copyrights. We will remove access to the work immediately and investigate your claim. This work is downloaded from Delft University of Technology. For technical reasons the number of authors shown on this cover page is limited to a maximum of 10. TATAMI Inside the Shōkin-tei, located in the garden of the Katsura Imperial Villa. A joint of three tatami. Tatami Carola Hein Use of the tatami mat reportedly goes back to the 8th century (the Nara period in Japan) when single mats began to be used as beds, or brought out for a high-ranking person to sit on. Over centuries it became a platform that has hosted all facets of life for generations of Japanese. From palaces to houses, from temples to spaces for martial art, the tatami has served as support element for life. -
Japanese Gardens at American World’S Fairs, 1876–1940 Anthony Alofsin: Frank Lloyd Wright and the Aesthetics of Japan
A Publication of the Foundation for Landscape Studies A Journal of Place Volume ıv | Number ı | Fall 2008 Essays: The Long Life of the Japanese Garden 2 Paula Deitz: Plum Blossoms: The Third Friend of Winter Natsumi Nonaka: The Japanese Garden: The Art of Setting Stones Marc Peter Keane: Listening to Stones Elizabeth Barlow Rogers: Tea and Sympathy: A Zen Approach to Landscape Gardening Kendall H. Brown: Fair Japan: Japanese Gardens at American World’s Fairs, 1876–1940 Anthony Alofsin: Frank Lloyd Wright and the Aesthetics of Japan Book Reviews 18 Joseph Disponzio: The Sun King’s Garden: Louis XIV, André Le Nôtre and the Creation of the Garden of Versailles By Ian Thompson Elizabeth Barlow Rogers: Gardens: An Essay on the Human Condition By Robert Pogue Harrison Calendar 22 Tour 23 Contributors 23 Letter from the Editor times. Still observed is a Marc Peter Keane explains Japanese garden also became of interior and exterior. The deep-seated cultural tradi- how the Sakuteiki’s prescrip- an instrument of propagan- preeminent Wright scholar tion of plum-blossom view- tions regarding the setting of da in the hands of the coun- Anthony Alofsin maintains ing, which takes place at stones, together with the try’s imperial rulers at a in his essay that Wright was his issue of During the Heian period winter’s end. Paula Deitz Zen approach to garden succession of nineteenth- inspired as much by gardens Site/Lines focuses (794–1185), still inspired by writes about this third friend design absorbed during his and twentieth-century as by architecture during his on the aesthetics Chinese models, gardens of winter in her narrative of long residency in Japan, world’s fairs. -
Specially Designed Tatami Mats with Removable Sunken Hearth for IH Heater
Flooring Tatami for Tea Ceremony Specially designed Tatami Mats with Removable Sunken Hearth for IH heater Our newly developed tatami mats can transform your room into a beautiful tea ceremony room with our sunken hearth for IH heater. The thickness of tatami mats is the same as that of sunken hearth (14cm or 5.5 inch). As there is no difference in height between tatami mats and the frame of hearth, you can perform Otemae, or tea-ceremony just like a normal sunken hearth. You may think it is hard to have an authentic tea room, however, our flooring tatami mats make it possible for you to have full-scale tea practices and tea ceremonies even if you live in an apartment. Patent pending: No.2020-203707 ©2021 Motoyama Tatami Co., Ltd. All Rights Reserved. 1 #01 Features of Removable Sunken Hearth for IH heater As there is no difference in level between our tatami mats and the sunken hearth, you don’t need to build a sunken hearth into the floor. Anyone can practice Chado (tea-ceremony) with Ro (sunken hearth) readily at home. You can practice Chado with Kyoma size tatami regardless of size of a room. Quality Chashitsume (64 weaves) is available. New lightweight materials offer you easy installation and removal work. Your legs are less likely to numb on these tatami mats. All lineups are produced by artisans and high-quality igusa (rush) from Kumamoto, Japan. The thickness (14cm or 5.5 inch) of tatami mats is the same as that of sunken hearth for IH. -
Japón - Resumen 1
JAPÓN - RESUMEN 1 Consejos - Los españoles no necesitamos visado, solo un pasaporte en vigor y podremos permanecer en el país con el visado de turista durante 90 días. - Hay que descalzarse para entrar en muchos sitios. - Exageradamente puntuales. - No se puede fumar en la calle, pero sí en muchos restaurantes. - La mayoría de las tapas de alcantarillas de Japón ("manhoru") están decoradas con trabajos artísticos que reflejan el atractivo de la ciudad donde están, algún monumento, festival o sus costumbres. Cada vez hay más personas que coleccionan fotos de éste fenómeno. - Los coches no pueden aparcar en las aceras. Deben hacerlo en parkings o dentro de los edificios. - En los hoteles y apartamentos suelen dejar los paraguas gratis. - No hay papeleras por la calle, pero está todo muy limpio. - Baños: o Hay baños por todas partes y están todos (o casi) impecables. o NO tocar el botón rojo: es para llamadas de emergencia. A veces pone “SOS” pero otras solo pone kanji en japonés. o En los bares no suele haber servilletas y en los baños a veces no hay papel. - Las escuelas llevan a los niños a sitios turísticos donde poder practicar el inglés con los turistas. Te hacen preguntas muy básicas y no te entretienen mucho, después te piden si pueden escribirte por correo, te regalan una grulla de Origami y se hacen una foto contigo. - En las escaleras mecánicas y por la acera, ir siempre por la izquierda, para dejar la derecha libre a aquellos que quieran desplazarse más rápido. En los peldaños comunes, subir por donde indiquen las flechas, normalmente por la izquierda también. -
Tracing Japan's Traditional Design In
THINKING INSIDE THE BOX: TRACING JAPAN’S TRADITIONAL DESIGN IN MODERN JAPANESE ARCHITECTURE A DARCH PROJECT SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARCHITECTURE DECEMBER 2016 By Matthew T. Kubota DArch Committee: Pu Miao, Chairperson William Chapman Elaine Wong Keywords: Modernism, Japan, Nature, Space, Materiality Dedications This dissertation is dedicated to my family for believing in me since day one. Through all the ups and downs, I cannot express in words how much it means to me for supporting me and being there when I needed help the most. Mom, Dad and Timmy, this is for you. i Acknowledgements I would like to thank my entire committee for their help along my academic journey through the D Arch program. Pu Miao, thank you for aiding me in my final semester of graduate school as well as serving as my chair. Professor William Chapman, thank you for believing in me since I first had you as a professor for an American Studies class; the help and support that you’ve given me has helped me grow as a student as well as learned more about myself along my academic journey. Elaine Wong, thank you for aiding me along the professional world as well as taking time out of your busy schedule to help me. Lastly, Clark Llewellyn, thank you for believing me and helping me accomplish so much during my time with you. Your help and guidance from the start served as an incredible foundation for which I built my work and research upon. -
The Abode of Fancy, of Vacancy, and of the Unsymmetrical
The University of Iceland School of Humanities Japanese Language and Culture The Abode of Fancy, of Vacancy, and of the Unsymmetrical How Shinto, Daoism, Confucianism, and Zen Buddhism Interplay in the Ritual Space of Japanese Tea Ceremony BA Essay in Japanese Language and Culture Francesca Di Berardino Id no.: 220584-3059 Supervisor: Gunnella Þorgeirsdóttir September 2018 Abstract Japanese tea ceremony extends beyond the mere act of tea drinking: it is also known as chadō, or “the Way of Tea”, as it is one of the artistic disciplines conceived as paths of religious awakening through lifelong effort. One of the elements that shaped its multifaceted identity through history is the evolution of the physical space where the ritual takes place. This essay approaches Japanese tea ceremony from a point of view that is architectural and anthropological rather than merely aesthetic, in order to trace the influence of Shinto, Confucianism, Daoism, and Zen Buddhism on both the architectural elements of the tea room and the different aspects of the ritual. The structure of the essay follows the structure of the space where the ritual itself is performed: the first chapter describes the tea garden where guests stop before entering the ritual space of the tea room; it also provides an overview of the history of tea in Japan. The second chapter figuratively enters the ritual space of the tea room, discussing how Shinto, Confucianism, Daoism, and Zen Buddhism merged into the architecture of the ritual space. Finally, the third chapter looks at the preparation room, presenting the interplay of the four cognitive systems within the ritual of making and serving tea. -
Sekisui Migusa Tatami Catalog Tel: +81-853-72-0301 Fax: +81-853-72-9018
TATAMI MODERN STYLE SHOW-ROOM Visit the Sekisui show-room to see Migusa tatami products on display. The Sekisui show-room houses a model home featuring Migusa floor mats, the new earth color and SUCRÉE collections for modern living rooms, as well as a full range of color samples. The living room display has a choice of two spaces to help you choose the right color and pattern combination for your living room. Tatami mats in a variety of colors are on display, so come on in and try it out. Sekisui Migusa Tokyo Showroom Bookings required Level 4, Sumitomoshoji kandaizumi-cho Building 1 Kandaizumi-cho, Chiyoda-ku, Tokyo 101-0024 Sekisui Migusa Osaka Showroom Bookings required Level 7, Furukawa Osaka Building West 2-1-9 Dojimahama, Kita-ku, Osaka 530-0004 Open: Monday to Friday, 10:00 am – 12:00 pm and 1:00 – 5:00 pm Closed: Weekends and public holidays, including summer break and New Year Sekisui Seikei, Ltd. Level 7, Furukawa Osaka Building West 2-1-9 Dojimahama, Kita-ku, Osaka 530-0004 ●Offices East Japan Enshin Office Level 5, Sumitomoshoji kanda Izumi-cho 4F Building 1 Kanda Izumi-cho, Chiyoda-ku, Tokyo 101-0024 Tel: +81-3-6837-0303 Fax: +81-3-3865-5653 West Japan Enshin Office Level 7, Furukawa Osaka Building West 2-1-9 Dojimahama, Kita-ku, Osaka 530-0004 Tel: +81-6-6347-0677 Fax: +81-6-6347-0801 Tohoku Office TATAMI MODERN STYLE Level 6, Saiki Center Building 8-1 Nishimachi, Rokuchonome, Wakabayashi-ku, Sendai, Miyagi prefecture 984-0011 Tel: +81-22-288-1615 ●Factory Izumo Plant 4002-2 Naoe, Hikawacho, Izumo, Shimane prefecture 699-0631 Sekisui Migusa tatami catalog Tel: +81-853-72-0301 Fax: +81-853-72-9018 Website http://www.sekisuimigusa.jp Migusa Search • Correct at May 2014. -
North American Rock Garden Society |
Bulletin of the American Rock Garden Society Volume 50 Number 2 Spring 1992 Cover: Iris iberica ssp. elegantissima by Rob Proctor of Denver, Colorado Bulletin of the American Rock Garden Society Volume 50 Number 2 Spring 1992 Features Paths for the Ordinary Gardener, by Geoffrey Charlesworth 83 Zenon Schreiber: Landscape Architect, by Paul Halladin 89 : On Paths and Steps, by Paul Halladin 91 Paths, by Nicholas Klise 101 Plants for the Pathway, by Steve Kelley 107 Paths in the Japanese Garden, by John L. Creech 113 On Edging, by Liz Rodgers 125 Plants for the Bog Garden, by Frederick W. Case, Jr. 129 Floyd McMullen Introductions, by David Hale 145 Departments Books 147 Paths for the Ordinary Gardener by Geoffrey Charlesworth ^^ou start to make a garden. The funny muscles kneeling and stretching. plot is roughly a rectangle. You are impa• So to get more garden, the time has tient to start planting and want immediate come to start a fresh piece, a separate results even if only a few annuals or a strip or even a new shape. When you dozen bulbs. You decide your garden will create this new garden, you have creat• be made in sections, a little at a time. So ed a path. Suppose your effort is to be you prepare a strip on the long side of a strip parallel to the first one and the the rectangle. It could be a rock garden, a same width. Automatically there will be scree, a perennial border or just a bed. Of a path dividing the enlarged garden in course, you love this bare patch of recep• two. -
America and Japan: Influences and Impacts of Westernization on Japanese
America and Japan: Influences and Impacts of Westernization on Japanese Architecture An Honors Thesis (HONRS 499) by Mark Figgins Thesis Advisor Michele Chiuini Ball State University Muncie, Indiana May 2011 Expected Date of Graduation May 2011 Abstract Traditional Japanese architecture is among the finest in the world. Japan's isolation allowed its traditions and customs to be refined over centuries, whereas the origins of American architecture reside in European styling. When Commodore Matthew Perry sailed into Tokyo Bay in 1853, he opened Japan up to an influx of Western culture that transformed it into a modern nation. Japan's struggle to find a modern identity and to reconcile Western and traditional architecture is examined from 1853 to the present. Acknowledgments I would like to thank Professor Michele Chiuini for advising me. His knowledge and patience have helped me immensely throughout this project. Table of Contents Influences on Traditional Japanese Architecture 1 The Japanese Honle 5 Early American Architecture 9 Conlmodore Perry's Opening of Japan 16 Japanese Architecture: Meiji Period 21 Frank Lloyd Wright 23 Japanese Architecture: Meiji to World War II 25 Kenzo Tange and Modernism 27 1 Japan has a rich history of tradition and culture. It is highly modernized, yet throughout its landscape, glimpses of a time centuries ago can still be seen. Its traditional architecture, simple, but with great attention to detail and beauty, is among the most fascinating in the world. When American Commodore Perry opened up Japan to an influx of Western culture, it sparked a desire to industrialize and use Western technology to further its goals.