Museum Di Tokyo Tokyou No Hakubutsukan Kertas Karya

Total Page:16

File Type:pdf, Size:1020Kb

Museum Di Tokyo Tokyou No Hakubutsukan Kertas Karya MUSEUM DI TOKYO TOKYOU NO HAKUBUTSUKAN KERTAS KARYA Dikerjakan O L E H HIDAYATUL AKRAM NIM: 142203052 PROGRAM STUDI D-III BAHASA JEPANG FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2017 UNIVERSITAS SUMATERA UTARA MUSEUM DI TOKYO TOKYOU NO HAKUBUTSUKAN KERTAS KARYA Kertas karya ini diajukan kepada Panitia Ujian Program Pendidikan Non Gelar Fakultas Ilmu Budaya Universitas Sumatera Utara Medan, untuk melengkapi salah satu syarat ujian Diploma III Program Studi Bahasa Jepang. Dikerjakan OLEH: HIDAYATUL AKRAM NIM: 142203052 PEMBIMBING, Adriana Hasibuan,S.S.,M.Hum NIP.196207271987032005 PROGRAM STUDI D-III BAHASA JEPANG FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2017 UNIVERSITAS SUMATERA UTARA Disetujui oleh: Program Diploma III Bahasa Jepang Fakultas Ilmu Budaya Universitas Sumatera Utara Medan Medan, Agustus 2017 Ketua Program Studi, Dr. DiahSyafitriHandayani, M.Litt NIP.197212281990032001 UNIVERSITAS SUMATERA UTARA PENGESAHAN Diterima oleh : Panitia Ujian Pendidikan Non Gelar Sastra Budaya Fakultas Ilmu Budaya Universitas Sumatera Utara Medan, untuk melengkapi salah satu syarat ujian Diploma III dalam Bidang Studi Bahasa Jepang. Pada : Tanggal : Hari : Program Studi D-III BahasaJepang Fakultas Ilmu Budaya Universitas Sumatera Utara Dekan, Dr. Budi Agustono, M.S NIP: 196008051987031001 Panitia Tugas Akhir : No. Nama Tanda Tangan 1. ( ) 2. ( ) 3. ( ) UNIVERSITAS SUMATERA UTARA KATA PENGANTAR Segala puji syukur penulis panjatkan kehadirat Tuhan Yang Maha Esa, karena Berkat Rahmat dan Hidayat-Nya, penulis dapat menyelesaikan kertas karya ini, sebagai syarat untuk memenuhi ujian akhir Diploma III Program Studi Bahasa Jepang Fakultas Ilmu Budaya Universitas Sumatera Utara. Kertas Karya ini berjudul “MUSEUM DI TOKYO”. Dalam hal ini penulis menyadari bahwa apa yang telah tertulis dalam Kertas Karya ini masih jauh dari kesempurnaan baik dari segimateri dan pembahasan masalah. Demi kesempurnaan, penulis sangat mengharapkan saran dan kritik yang membangun dari para pembaca untuk kearah perbaikan. Dalam Kertas Karya ini penulis telah banyak menerima bantuan dari berbagai pihak yang cukup bernilai harganya. Untuk itu penulis mengucapkan banyak terimakasih yang sebesar-besarnya kepada : 1. Bapak Dr.Budi Agustono, M.S., selaku Dekan Fakultas Ilmu Budaya Universitas Sumatera Utara. 2. Ibu Dr. Diah Syahfitri Handayani, M.Litt., selaku Ketua Prodi Bahasa Jepang DIII Fakultas Ilmu Budaya Universitas SumateraUtara. 3. Ibu Adriana Hasibuan,S.S.,M.Hum, selaku Dosen pembimbing yang dengan ikhlas telah meluangkan waktu dan pikiran untuk memberikan bimbingan dan juga arahan kepada penulis dalam menyelesaikan Kertas Karya ini. 4. Seluruh Staf Pengajar pada Program Studi Bahasa Jepang Fakultas Ilmu Budaya Universitas Sumatera Utara, atas didikannya selama masa perkuliahan. UNIVERSITAS SUMATERA UTARA 5. Teristimewa kepada kedua orangtua tercinta, Ayahanda Agustiar dan Terkhusus Ibunda Yenti, yang telah memberikan doa, dukungan, bimbingan sehingga penulis dapat menyelesaikan kertas karya ini dengan baik. 6. Untuk sahabat-sahabat penulis Weni Kartika Tobing, Roni Siagian, Agi Anggara, Muhammad Akbar, teman seperjuangan dan semua rekan–rekan Jurusan Bahasa Jepang senior dan junior Bahasa Jepang maupun Fakultas Ilmu Budaya terkhusus HINODE014 terima kasih untuk semua semangat, arahan, perhatian dan bantuan yang kalian berikan selama masa kuliah. 7. Terimah kasih juga rekan–rekan Pengurus IMIB USU dan rekan-rekan anggota IMIB USU yang sudah memberikan dukungan dan dorongan kepada penulis dalam menyelesaikan Kertas Karya ini. Medan,…………… 2017 Penulis, Hidayatul Akram NIM: 142203052 UNIVERSITAS SUMATERA UTARA DAFTAR ISI KATA PENGANTAR..................................................................................i DAFTAR ISI.................................................................................................iii BAB I PENDAHULUAN.................................................................1 1.1 Alasan Pemilihan Judul.....................................................1 1.2 Tujuan Penulisan...............................................................2 1.3 Batasan Masalah...............................................................3 1.4 Metode Penulisan..............................................................3 BAB II GAMBARAN UMUM DAERAH TOKYO DAN MUSEUM DI JEPANG.......................................................4 2.1 Letak Geografi Kota Tokyo di Jepang..............................4 2.2 Museum di Jepang.............................................................6 BAB III MUSEUM DI TOKYO........................................................11 3.1 Ghibli Museum.................................................................11 3.2 National Museum of Nature and Science.........................14 3.3 The National Art Centre...................................................16 BAB IV KESIMPULAN DAN SARAN............................................19 4.1 Kesimpulan.......................................................................19 UNIVERSITAS SUMATERA UTARA 4.2 Saran..................................................................................20 DAFTAR PUSTAKA LAMPIRAN ABSTRAK UNIVERSITAS SUMATERA UTARA BAB I PENDAHULUAN 1.1 Alasan Pemilihan Judul Jepang merupakan salah satu negara dengan kemampuan berinovasi sangat luar biasa. Seperti diketahui bahwa negeri sakura ini mengalami keterpurukan pada saat akhir perang dunia II dengan dijatuhkannya bom atom di kota Nagasaki dan Hiroshima. Namun keadaan ini tidak membuat masyarakat Jepang berdiam diri dan terpuruk lebih lama. Hal ini tentu membuktikan bagaimana kemampuan Jepang dalam menampilkan ciri khas bangsa kepada masyarakat dunia. Hebatnya lagi adalah Jepang mulai menanamkan kreatifitas kepada masyarakatnya sejak kecil. Berbagai tempat yang menggabungkan dunia wisata dengan dunia pengetahuan bisa wisatawan temukan di sekitar negeri ini. Dan salah satunya berada di kota Tokyo. Kota Tokyo merupakan ibukota Jepang, merupakan pusat ekonomi Jepang, disamping sebagai pusat pemerintahan, perundang-undangan, dan peradilan. Di antara semua prefektur dan daerah istimewa yang ada di jepang, populasinya merupakan yang terbanyak, yaitu 13 juta jiwa, ini juga tempat lahirya budaya serta informasi dan berbagai mode lainnya. Kota Tokyo menjadi ibukota Jepang dimulai dari abad ke 17, ketika Tokugawa Ieyasu membuat Keshogunan Edo. Orang-orang bisa mengunjungi berbagai tempat di ibukota ini, misalnya Istana Kaisar (dulu dikenal sebagai Kastil Edo), Gedung Parlemen, Perpustakaan Nasional, Kantor Surat Kabar, Stasiun TV, Bursa Saham Tokyo. UNIVERSITAS SUMATERA UTARA Selain itu ada banyak tempat yang bisa dikunjungi berbagai galeri lukisan, teather, taman dan juga museum. Museum-museum di Tokyo merupakan destinasi yang wajib di kunjungi. Di Museum yang ada di Tokyo ini bisa mengingat kembali peninggalan sejarah dari zaman kuno hingga zaman modern dan juga melihat seni lukisan Jepang. Seperti Ghibli Museum, National Museum Of Nature and Science, The National Art Centre, serta museum menarik lain. Hal ini yang membuat penulis tertarik untuk menjadikan Museum Di Tokyo sebagai judul Kertas Karya ini, dan membahas tentang museum yang ada di Tokyo. 1.2 Tujuan Penulisan Adapun tujuan penulisan kertas karya ini adalah sebagai berikut: 1. Untuk mengetahui bagian-bagian dari Ghibli Museum, The National Art Center dan, National Museum of Nature and Science. 2. Sebagai salah satu syarat untuk memperoleh gelar Diploma. 1.3 Batasan Masalah Penulis akan memfokuskan pembahasan kertas karya ini hanya mengenai informasi wisata tentang Ghibli Museum, The National Art Centre dan, National Museum of Nature and Science. 1.4 Metode Penulisan Dalam metode penulisan kertas karya ini, penulis mengunakan metode kepustakaan, yakni mengumpulkan sumber-sumber bacaan yang berupa buku UNIVERSITAS SUMATERA UTARA sebagai referensi yang berkaitan dengan pokok permasalahan yang dibahas dalam kertas karya ini. Selain itu, penulis juga memanfaatkan informasi dari teknologi internet sebagai sumber data tambahan agar lebih akurat dan lebih jelas. UNIVERSITAS SUMATERA UTARA BAB II GAMBARAN UMUM DAERAH DI TOKYO DAN MUSEUM DI JEPANG 2.1 Letak Geografi Tokyo di Jepang Jepang merupakan negara yang berbentuk kepulauan yang dinamakan oleh orang Jepang sendiri adalah Nippon dan mempunyai julukan Negara Matahari Terbit dan negeri Sakura. Ibukota di Jepang adalah Tokyo, merupakan Negara Industri terbesar ke-2 setelah Amerika Serikat. Luas wilayah Jepang sekitar 370.370 KM2, dengan letak Astronomis 30º LU 47º LU dan 128º BT-146º BT. Letak Geografis : Di kawasan Asia timur yang terpisah dari benua Asia, di sebelah timur benua Asia dan sebelah barat Samudera Pasifik. Batas-batas : utara adalah Laut Okhstosk, Timur adalah Samudera Pasifik, Selatan adalah laut Cina timur dan laut Filipina, dan barat adalah laut Jepang dan Selat Korea. Keadaan penduduk di Jepang pada tahun 1998, dengan jumlah penduduk 126.400.000 jiwa. Pertumbuhan penduduk 0,3% dan kepadatannya adalah 326 jiwa per KM2. Penduduk Jepang termasuk Induk bangsa Mongoloid, suku bangsa aslinya adalah suku bangsa Ainu yang tinggal di pulau Hokkaido. Penduduk Jepang yang terpadat adalah di pulau Honsu dan bagian utara pulau Kyushu. Dengan penjabaran tentang letak geografis negara Jepang diatas maka, perlunya untuk mengetahui spesifik khusus tentang letak geografi di kota Tokyo, sebagaimana halnya pembahasan pada bagian ini. UNIVERSITAS SUMATERA UTARA Kota Tokyo terletak di sebelah selatan Wilayah Kanto, yang berada di bagian tengah kepulauan Jepang. Kawasan Tokyo yang
Recommended publications
  • The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
    The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
    [Show full text]
  • Download the Program (PDF)
    ヴ ィ ボー ・ ア ニ メー シ カ ョ ワ ン イ フ イ ェ と ス エ ピ テ ッ ィ Viborg クー バ AnimAtion FestivAl ル Kawaii & epikku 25.09.2017 - 01.10.2017 summAry 目次 5 welcome to VAF 2017 6 DenmArk meets JApAn! 34 progrAmme 8 eVents Films For chilDren 40 kAwAii & epikku 8 AnD families Viborg mAngA AnD Anime museum 40 JApAnese Films 12 open workshop: origAmi 42 internAtionAl Films lecture by hAns DybkJær About 12 important ticket information origAmi 43 speciAl progrAmmes Fotorama: 13 origAmi - creAte your own VAF Dog! 44 short Films • It is only possible to order tickets for the VAF screenings via the website 15 eVents At Viborg librAry www.fotorama.dk. 46 • In order to pick up a ticket at the Fotorama ticket booth, a prior reservation Films For ADults must be made. 16 VimApp - light up Viborg! • It is only possible to pick up a reserved ticket on the actual day the movie is 46 JApAnese Films screened. 18 solAr Walk • A reserved ticket must be picked up 20 minutes before the movie starts at 50 speciAl progrAmmes the latest. If not picked up 20 minutes before the start of the movie, your 20 immersion gAme expo ticket order will be annulled. Therefore, we recommended that you arrive at 51 JApAnese short Films the movie theater in good time. 22 expAnDeD AnimAtion • There is a reservation fee of 5 kr. per order. 52 JApAnese short Film progrAmmes • If you do not wish to pay a reservation fee, report to the ticket booth 1 24 mAngA Artist bAttle hour before your desired movie starts and receive tickets (IF there are any 56 internAtionAl Films text authors available.) VAF sum up: exhibitions in Jane Lyngbye Hvid Jensen • If you wish to see a movie that is fully booked, please contact the Fotorama 25 57 Katrine P.
    [Show full text]
  • The Art of Howls Moving Castle Pdf Free Download
    THE ART OF HOWLS MOVING CASTLE PDF, EPUB, EBOOK Hayao Miyazaki | 256 pages | 06 Oct 2008 | Viz Media, Subs. of Shogakukan Inc | 9781421500492 | English | San Francisco, United States The Art of Howls Moving Castle PDF Book This artwork is a beautiful synergy of colors and a tribute to the light and dark within Howl and Sophie. Thumbs up! Tags: calcifer, tattoo, heart, anime, howl, fire, flame, howls moving castle, swirled hearts, castle, japan, manga, cute, miyazaki, moving, sophie, studio ghibli, cartoon, haku, howls, totoro, bacon, catbus, ghibli, night, witch, animation, funny, girls, moving castle, sky, spirit, yubaba, forest, hayao, pink heart, snap. How to start an art blog Learn how you can build a following and reach more people with an art blog. Estimated between Mon. This image of Sophie saving Howl and Calcifer by separating the two is parallel to the moment Howl saves Calcifer from his death by making a deal with a demon and giving his heart. Studio Ghibli is synonymous with Hayao Miyazaki. Dianne Wynne Jones, the writer of the book Howls Moving Castle; upon which this film is based combines the essence of the story Jones wrote with the style and art of Miyazaki. Notify me when this product is in stock. Enlarge cover. Miyazaki tells his tale outside the parameters of Western storyline structure. Not only Sophie, who behind the old body still hides a young spirit. Replies to my comment. Return policy. Notify me when new comments are posted. This book is a collection of concept sketches, concept art, backgrounds, character designs including painted versions , and still images for Hayao Miyazaki's animated film, Howl's Moving Castle , based on the book by Diana Wynne Jones.
    [Show full text]
  • Elements of Realism in Japanese Animation Thesis Presented In
    Elements of Realism in Japanese Animation Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By George Andrew Stey Graduate Program in East Asian Studies The Ohio State University 2009 Thesis Committee: Professor Richard Edgar Torrance, Advisor Professor Maureen Hildegarde Donovan Professor Philip C. Brown Copyright by George Andrew Stey 2009 Abstract Certain works of Japanese animation appear to strive to approach reality, showing elements of realism in the visuals as well as the narrative, yet theories of film realism have not often been applied to animation. The goal of this thesis is to systematically isolate the various elements of realism in Japanese animation. This is pursued by focusing on the effect that film produces on the viewer and employing Roland Barthes‟ theory of the reality effect, which gives the viewer the sense of mimicking the surface appearance of the world, and Michel Foucault‟s theory of the truth effect, which is produced when filmic representations agree with the viewer‟s conception of the real world. Three directors‟ works are analyzed using this methodology: Kon Satoshi, Oshii Mamoru, and Miyazaki Hayao. It is argued based on the analysis of these directors‟ works in this study that reality effects arise in the visuals of films, and truth effects emerge from the narratives. Furthermore, the results show detailed settings to be a reality effect common to all the directors, and the portrayal of real-world problems and issues to be a truth effect shared among all. As such, the results suggest that these are common elements of realism found in the art of Japanese animation.
    [Show full text]
  • Cineclubuned 24.Pdf
    Asociación Cultural UNED SORIA Presidente Saturio Ugarte Martínez Vicepresidente Carmelo García Sánchez Secretario José Jiménez Sanz Tesorero Cristina Granado Bombín Vocales Mª Desirée Moreno Pérez Anselmo García Martín Jesús Labanda Izquierdo Dario García Palacios Coordinador Carmelo García Sánchez 24 Secciones Pantalla Grande Curso Programación y Textos Roberto González Miguel (RGM) 2017.2018 José María Arroyo Oliveros (JMA) Julián de la Llana del Río (JLLR) Ángel García Romero (AGR) Miradas de Cine Programación y Textos Roberto González Miguel (RGM) José María Arroyo Oliveros (JMA) Edita Soria de Cine Asociación Cultural UNED. Soria Selección y Textos Julián de la Llana del Río (JLLR) D.L. So-159/1994 Cineclub UNED c/ San Juan de Rabanera, 1. 42002 Soria. t. 975 224 411 f. 975 224 491 Colaboradores [email protected] www.cineclubuned.es Colaboración especial Susana Soria Ramas Pedro E. Delgado Cavilla © Fotografías: Alberto Caballero García Cabeceras: Unsplash (diferentes autores) Peliculas: Distribuidoras Producción Audiovisual Visorvideo. Victor Cid (www.visorvideo.tv) Diseño Gráfico/Maqueta Roberto Peña (www.elprincipiokiss.es) Impresión Arte Print Otras colaboraciones José Reyes Salas de proyección Centro Cultural Palacio de la Audiencia (Plaza Mayor) Casa de la Tierra- UNED. (c/ San Juan de Rabanera, 1). 24 OCTUBRE NOVIEMBRE DICIEMBRE ENERO i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do 01 01 02 03 04 05 01 02 03 01 02 03 04 05 06 07 02 03 04 05 06 07 08 06 07 08 09 10 11 12 04 05 06 07
    [Show full text]
  • Studio Ghibli Museum Tickets
    Studio Ghibli Museum Tickets Tucker vanquish her inductility punishingly, ferial and interurban. Abbott still esterifying offhandedly while unfavourable Benson interlinks that rollocks. Phillipe embargoes his Kerouac scrutinizes timeously, but unscrutinized Charlie never pan-fries so hurry-skurry. You decide whether ghibli museum tickets for pertinent information and we got to your email already be able to find a series of Travelers were impressed with mystery that the Tokyo National Museum has new offer. When customer click in, two options appear for two month you want to purchase visit ticket. Also from the same again, the rooftop has a effort with Laputa wording around here, which looks like those could have fallen straight grade the cancer like divide the velocity of time movie. Please push one order for your entire stock to encompass that everyone gets the same unit and time. Show your passport with small ticket strictly on a sentence date strictly on a bases! Who eager to bath you cleanse the entrance to the Ghibli Museum than Totoro himself! Studio studio ghibli museum in each offering a payment will be taken care of ghibli studio museum tickets go to! Manage your bookings from multiple devices, anytime, anywhere! This appears on your profile and any content excerpt post. Catbus complete with chuckable Soot Sprites. Every weekday we compile our most wondrous stories and deliver them justify to you. Travel Licensing Restrictions Apply for Travel to Cuba. Took reflect a while but find my post. Since college she has au paired in Paris, backpacked the world solo, and lived in Uganda.
    [Show full text]
  • El Folclore Y La Mitología Japonesa En Las Películas Del Studio Ghibli
    EL FOLCLORE Y MITOLOGÍA JAPONESES EN LAS PELÍCULAS DE STUDIO GHIBLI LOS CASOS DE EL VIAJE DE CHIHIRO Y MI VECINO TOTORO 101486 – Trabajo de fin de grado Grado en Traducción e Interpretación Curso académico 2014-2015 Laia Rubio Prats Jose Antonio Jiménez Ordóñez Tutor: Jordi Mas López Facultad de Traducción e Interpretación Universitat Autònoma de Barcelona El folclore y mitología japoneses en las películas del Studio Ghibli 2014 - 2015 DATOS DEL TFG Título: El folclore y mitología japoneses en las películas de Studio Ghibli. Los casos de El viaje de Chihiro y Mi vecino Totoro. Autores: Laia Rubio Prats y Jose Antonio Jiménez Ordóñez Tutor: Jordi Mas López Centro: Facultad de Traducción e Interpretación Estudios: Grado en Traducción e Interpretación Curso académico: 2014‐15 PALABRAS CLAVE Traducción, doblaje, lengua japonesa, lengua española, lengua inglesa, mitología japonesa, Studio Ghibli, folclore, elementos culturales, sintoísmo. RESUMEN DEL TFG El siguiente trabajo trata de elaborar un análisis de la cultura y mitología japonesas reflejadas en la traducción o doblaje de las películas El viaje de Chihiro y Mi vecino Totoro. Se ha intentado realizar no solo un análisis comparativo de la traducción de ambas películas de Studio Ghibli, sino también del trasfondo cultural que en ellas se muestra y cómo se ha traducido y mostrado en la versión española e inglesa. Aunque a simple vista pueden parecer sencillas películas para niños, ambas muestran una gran cantidad de elementos culturales que en la traducción española e inglesa pasan a segundo plano o desaparecen por completo. En segundo lugar, el trabajo intenta recoger, analizar y explicar los distintos seres, criaturas y elementos del folclore japonés mencionados o mostrados en ambas películas y el papel que estos desempeñan tanto en la trama de las obras como en la mitología japonesa.
    [Show full text]
  • ACTA ASIATICA VARSOVIENSIA No. 29
    Institute of Mediterranean and Oriental Cultures Polish Academy of Sciences ACTA ASIATICA VARSOVIENSIA No. 29 Warszawa 2016 Editor-in-Chief Board of Advisory Editors KRZYSZTOF TRZCIŃSKI NGUYEN QUANG THUAN KENNETH OLENIK Subject Editor ABDULRAHMAN AL-SALIMI OLGA BARBASIEWICZ JOLANTA SIERAKOWSKA-DYNDO English Text Consultant BOGDAN SKŁADANEK ANNA KOSTKA LEE MING-HUEI ZHANG HAIPENG French Text Consultant NICOLAS LEVI Secretary AGNIESZKA PAWNIK © Copyright by Institute of Mediterranean and Oriental Cultures, Polish Academy of Sciences, Warsaw 2016 PL ISSN 0860–6102 eISSN 2449–8653 ISBN 978–83–7452–091–1 ACTA ASIATICA VARSOVIENSIA is abstracted in The Central European Journal of Social Sciences and Humanities, Index Copernicus, ProQuest Database Contents ARTICLES: MAXIME DANESIN, L’aube des light novels en France ..... 7 MÁRIA ILDIKÓ FARKAS, Reconstructing Tradition. The Debate on “Invented Tradition” in the Japanese Modernization ............................................................................................... 31 VERONICA GASPAR, Reassessing the Premises of the Western Musical Acculturation in Far-East Asia .................. 47 MARIA GRAJDIAN, Imaginary Nostalgia: The Poetics and Pragmatics of Escapism in Late Modernity as Represented by Satsuki & Mei’s House on the EXPO 2005 Site ................... 59 MAYA KELIYAN, Japanese Local Community as Socio- Structural Resource for Ecological Lifestyle ........................ 85 EKATERINA LEVCHENKO, Rhetorical Devices in Old Japanese Verse: Structural Analysis and Semantics...........
    [Show full text]
  • ACTA ASIATICA VARSOVIENSIA No. 29
    Institute of Mediterranean and Oriental Cultures Polish Academy of Sciences ACTA ASIATICA VARSOVIENSIA No. 29 Warszawa 2016 Editor-in-Chief Board of Advisory Editors KRZYSZTOF TRZCIŃSKI NGUYEN QUANG THUAN KENNETH OLENIK Subject Editor ABDULRAHMAN AL-SALIMI OLGA BARBASIEWICZ JOLANTA SIERAKOWSKA-DYNDO English Text Consultant BOGDAN SKŁADANEK ANNA KOSTKA LEE MING-HUEI ZHANG HAIPENG French Text Consultant NICOLAS LEVI Secretary AGNIESZKA PAWNIK © Copyright by Institute of Mediterranean and Oriental Cultures, Polish Academy of Sciences, Warsaw 2016 PL ISSN 0860–6102 eISSN 2449–8653 ISBN 978–83–7452–091–1 ACTA ASIATICA VARSOVIENSIA is abstracted in The Central European Journal of Social Sciences and Humanities, Index Copernicus, ProQuest Database Contents ARTICLES: MAXIME DANESIN, L’aube des light novels en France ..... 7 MÁRIA ILDIKÓ FARKAS, Reconstructing Tradition. The Debate on “Invented Tradition” in the Japanese Modernization ............................................................................................... 31 VERONICA GASPAR, Reassessing the Premises of the Western Musical Acculturation in Far-East Asia .................. 47 MARIA GRAJDIAN, Imaginary Nostalgia: The Poetics and Pragmatics of Escapism in Late Modernity as Represented by Satsuki & Mei’s House on the EXPO 2005 Site ................... 59 MAYA KELIYAN, Japanese Local Community as Socio- Structural Resource for Ecological Lifestyle ........................ 85 EKATERINA LEVCHENKO, Rhetorical Devices in Old Japanese Verse: Structural Analysis and Semantics...........
    [Show full text]
  • Hayao Miyazaki and His Anime Movies
    Hayao Miyazaki And His Anime Movies Radin-Mačukat, Lucija Undergraduate thesis / Završni rad 2018 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zadar / Sveučilište u Zadru Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:162:982522 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-03 Repository / Repozitorij: University of Zadar Institutional Repository of evaluation works Sveučilište u Zadru Odjel za anglistiku Preddiplomski sveučilišni studij engleskog jezika i književnosti (dvopredmetni) Lucija Radin-Mačukat Hayao Miyazaki And His Anime Movies Završni rad Zadar, 2018. Sveučilište u Zadru Odjel za anglistiku Preddiplomski sveučilišni studij engleskog jezika i književnosti (dvopredmetni) Hayao Miyazaki And His Anime Movies Završni rad Student/ica: Mentor/ica: Lucija Radin-Mačukat Dr.sc. Mario Vrbančić Zadar, 2018. Izjava o akademskoj čestitosti Ja, Lucija Radin-Mačukat, ovime izjavljujem da je moj završni rad pod naslovom Hayao Miyazaki And His Anime Movies rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj mojega rada u potpunosti odgovara sadržaju obranjenoga i nakon obrane uređenoga rada. Zadar, 2018. Radin – Mačukat 4 Table of contents: 1. Introduction ………………………………………………………………………………..7 2. What is anime? ………………………………………………………………………….....8 3. Anime genres ……………………………………………………………………………...12 3.1. Action ………………………………………………………………………………….12 3.2. Adventure ……………………………………………………………………………...12 3.3.
    [Show full text]
  • “Hayao Miyazaki's World”
    “Hayao Miyazaki’s World” ‘Best of’ Booklet Japan in Today’s World Program (JTW) Professor Tamah Nakamura Edited by Bobby Recinos and Hiroshi Kudo – February 2013 “In Japan, Miyazaki Hayao is more than just an animation director, he is a thinker and a philosopher” Acknowledgements I would like to express my deep appreciation for Professor Tamah Nakamura who kindly allowed me to undertake this project together with Bobby Recinos. Her heartfelt instruction and encouragement drew out the best of us. Bobby always showed will to express his deeper thoughts far and wide. He studied the essays and advanced this project earnestly. I appreciate his advice. Also, I thank all of the students of the class for their outstanding work. This booklet is theirs. Finally, I want to credit Kyushu University and the JTW (Japan in Today’s World) office at that school for their unconditional support. Hiroshi Kudo Editor My sincere gratitude goes out to professor Tamah Nakamura for inspiring us through word and action to pursue this humble yet valuable enterprise. Your skill and sensibility guided us along the way. Certainly, without her, there would be no “Best of Hayao Miyazaki’s World”. To my colleague and partner in this venture, Hiro-San, I thank deeply for opening the path that led to this project. Your experience, knowledge and selflessness were the key for completing it. I feel privileged to have been able to share the experience of the JTW course “Miyazaki, Hayao’s World” with many beautiful minds from around the world, without whom this booklet would have been impossible to consider.
    [Show full text]
  • Gendered Power in Studio Ghibli's Shōjo
    Gendered Power in Studio Ghibli’s Shōjo: Subversion, Containment, Reinscription Keira Elyse Myers Blacksburg, VA Bachelor of Arts, Bachelor of Fine Arts, Virginia Polytechnic Institute and State University, 2016 A Thesis presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Master of Arts Department of East Asian Studies University of Virginia May 2019 1 Table of Contents: Introduction Chapter 1: The Development of the Shōjo: Contextualizing and Contrasting Miyazaki’s Shōjo Chapter 2: Nausicaa: Gendered Power in Studio Ghibli’s Shōjo Chapter 3: Princess Mononoke: Romance and the “Wild Child” of the 1990s Chapter 4: Transferred Nurturing: Howl’s Moving Castle Chapter 5: The Atomization of Japanese Media and Otaku Subculture Chapter 6: Merging Fiction and Reality and the Lolita Complex Conclusion Bibliography © 2019 Keira Elyse Myers 2 Introduction Within the realm of anime and manga fans, the works of Studio Ghibli’s world-famous animator Hayao Miyazaki are resoundingly applauded for their supposedly progressive depictions of young women in Japanese animated film. Many viewers assert that the young female leads taking positions of power and partaking in combative roles is a clear subversion of patriarchal gender dynamics and power, separating Miyazaki’s shōjo (“young woman”) characters from mainstream anime. However, in this thesis I will work to bring Studio Ghibli’s films back into the discussion of gender representation in Japanese animation using a theoretical feminist media reading of the works’ depictions of gendered power within three key films: Nausicaa of the Valley of the Wind, Princess Mononoke, and Howl’s Moving Castle.
    [Show full text]