Japanese Table and Seats
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
DIJ-Mono 63 Utomo.Book
Monographien Herausgegeben vom Deutschen Institut für Japanstudien Band 63, 2019 Franziska Utomo Tokyos Aufstieg zur Gourmet-Weltstadt Eine kulturhistorische Analyse Monographien aus dem Deutschen Institut für Japanstudien Band 63 2019 Monographien Band 63 Herausgegeben vom Deutschen Institut für Japanstudien der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland Direktor: Prof. Dr. Franz Waldenberger Anschrift: Jochi Kioizaka Bldg. 2F 7-1, Kioicho Chiyoda-ku Tokyo 102-0094, Japan Tel.: (03) 3222-5077 Fax: (03) 3222-5420 E-Mail: [email protected] Homepage: http://www.dijtokyo.org Umschlagbild: Quelle: Franziska Utomo, 2010. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Dissertation der Universität Halle-Wittenberg, 2018 ISBN 978-3-86205-051-2 © IUDICIUM Verlag GmbH München 2019 Alle Rechte vorbehalten Druck: Totem, Inowrocław ISBN 978-3-86205-051-2 www.iudicium.de Inhaltsverzeichnis INHALTSVERZEICHNIS DANKSAGUNG . 7 SUMMARY: GOURMET CULTURE IN JAPAN – A NATION OF GOURMETS AND FOODIES. 8 1EINLEITUNG . 13 1.1 Forschungsfrage und Forschungsstand . 16 1.1.1 Forschungsfrage . 16 1.1.2 Forschungsstand . 20 1.1.2.1. Deutsch- und englischsprachige Literatur . 20 1.1.2.2. Japanischsprachige Literatur. 22 1.2 Methode und Quellen . 25 1.3 Aufbau der Arbeit . 27 2GOURMETKULTUR – EINE THEORETISCHE ANNÄHERUNG. 30 2.1 Von Gastronomen, Gourmets und Foodies – eine Begriffs- geschichte. 34 2.2 Die Distinktion . 39 2.3 Die Inszenierung: Verstand, Ästhetik und Ritual . 42 2.4 Die Reflexion: Profession, Institution und Spezialisierung . 47 2.5 Der kulinarische Rahmen . 54 3DER GOURMETDISKURS DER EDOZEIT: GRUNDLAGEN WERDEN GELEGT . -
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. -
Lighting Features in Japanese Traditional Architecture
PLEA2006 - The 23rd Conference on Passive and Low Energy Architecture, Geneva, Switzerland, 6-8 September 2006 Lighting Features in Japanese Traditional Architecture Cabeza-Lainez J. M, 1Saiki T. 2, Almodovar-Melendo J. M. 1, Jiménez-Verdejo J.R.2 1 Research Group KARMA, University of Seville, Spain 2 Theory of Design Division, University of Kobe, Japan ABSTRACT: Japanese Architecture has always shown an intimate connection with nature. Most materials are as natural as possible, like kaya vegetal roofing, wooden trusses and rice-straw mats (tatami). Disposition around the place, follows a clever strategy of natural balance often related to geomancy like Feng-Shui and to the observance of deeply rooted environmental rules. In this paper we would like to outline all of the former, but also stressing the role of day-lighting in architecture. Unlike Spain, day-lighting is a scarce good in Japan as the weather is often stormy and cloudy. Maximum benefit has to be taken of the periods in which the climate is pleasant, and a variety of approaches has been developed to deal with such conditions; latticed paper-windows (shôji), overhangs (noki) and verandas oriented to the South (engawa), are some of the main features that we have modelled with the aid of our computer program. The results have been validated by virtue of on site measurements. The cultural aspect of this paper lies not only in what it represents for the evolution of Japanese and Oriental Architecture but also in the profound impression that those particular lighting systems had for distinguished modern architects like Bruno Taut, Antonin Raymond or Walther Gropius and the contemporary artist Isamu Noguchi, a kind of fascination that we may say is lingering today. -
My Year of Dirt and Water
“In a year apart from everyone she loves, Tracy Franz reconciles her feelings of loneliness and displacement into acceptance and trust. Keenly observed and lyrically told, her journal takes us deep into the spirit of Zen, where every place you stand is the monastery.” KAREN MAEZEN MILLER, author of Paradise in Plain Sight: Lessons from a Zen Garden “Crisp, glittering, deep, and probing.” DAI-EN BENNAGE, translator of Zen Seeds “Tracy Franz’s My Year of Dirt and Water is both bold and quietly elegant in form and insight, and spacious enough for many striking paradoxes: the intimacy that arises in the midst of loneliness, finding belonging in exile, discovering real freedom on a journey punctuated by encounters with dark and cruel men, and moving forward into the unknown to finally excavate secrets of the past. It is a long poem, a string of koans and startling encounters, a clear dream of transmissions beyond words. And it is a remarkable love story that moved me to tears.” BONNIE NADZAM, author of Lamb and Lions, co-author of Love in the Anthropocene “A remarkable account of a woman’s sojourn, largely in Japan, while her husband undergoes a year-long training session in a Zen Buddhist monastery. Difficult, disciplined, and interesting as the husband’s training toward becoming a monk may be, it is the author’s tale that has our attention here.” JOHN KEEBLE, author of seven books, including The Shadows of Owls “Franz matches restraint with reflexiveness, crafting a narrative equally filled with the luminous particular and the telling omission. -
10 Ways to Create Your Own Zen House Search Magazines and Websites Dedicated to Modern Decor, and Pictures of Japanese Style Interiors Are Easily Found
ZenVita Original Japanese Home Designs 10 Ways to Create Your Own Zen House Search magazines and websites dedicated to modern decor, and pictures of Japanese style interiors are easily found. Whether it be a small pot, a Zen garden or a modern reworking of a traditional Japanese room, architects and decorators turn to the east for inspiration. Behind these simple interior designs lies a very particular and distinct way of life. Zen philosophy and its teachings are studied and incorporated widely in modern Japanese architecture, enriching our understanding of what good design is all about. That being said, it is easily understood that Japanese design is not a trend. It will never be out of fashion, and it will never get old, because it forms part of a particular approach of life, a simpler one, without pretense, riches and unnecessary stylistic exaggerations. Above all it reflects the long history of Japan, and the evolution of its philosophy and architecture. The moment you decide to add Japanese style to your house, you have chosen an aesthetic principle. It is not about what kind of painting you will put on the walls anymore, but rather it goes deeper, into what kind of life you want to live. So how can we add a truly Japanese touch to our home? The first step is knowledge, and with this we can help you. Adding a little Japanese style can be easy and inexpensive with the right know-how, style tips and advice. If you are thinking of designing a Japanese style home, then these are our ten top recommendations. -
Comparison of the “Oki-Gotatsu” in the Traditional Japanese House and the “Kürsü” in the Traditional Harput House
Intercultural Understanding, 2019, volume 9, pages 15-19 Comparison of the “Oki-gotatsu” in the Traditional Japanese House and the “Kürsü” in the Traditional Harput House ølknur Yüksel Schwamborn1 1 Architect, østanbul, Turkey Corresponding author: ølknur Yüksel Schwamborn, Architect, østanbul, Turkey, E-mail: [email protected] Keywords: Japan, kotatsu, oki-gotatsu, Turkey, Anatolia, Harput, kürsü, table, heater Abstract: The use of the wooden low table “kotatsu” in the center of the traditional Japanese house in the seventeenth century (Edo (Tokugava) period), the oki-gotatsu, is similar to the use of the wooden low table in the traditional Harput house, the “kürsü”. The “kotatsu” and the “kürsü” used in winter in both places with similar climate characteristics are the table usage, which is collected around the place and where the warm-up needs are met. The origins of these similar uses in the traditional Japanese house and the traditional Harput house, located in different and distant geographies, can be traced back to Central Asia. In this study, the shape and use characteristics of “oki-gotatsu”, a form of traditional Japanese house in the past, and the shape and use characteristics of the “kürsü” in the traditional Harput house are compared. 1. Introduction area is exposed to northern and southern air currents and dominated by a cold climate, which makes life conditions In this study the traditional Japanese house wooden low table difficult. (Kahraman, 2010) Continental, polar-like air masses "kotatsu" is compared with the traditional Harput house "kürsü" originating from the inner parts of Asia move southwest before known from Turkey. -
Introduction Humanitarian Imperialism
UC San Diego UC San Diego Electronic Theses and Dissertations Title Humanitarian Empire : : The Red Cross in Japan, 1877-1945 Permalink https://escholarship.org/uc/item/6kr3c55j Author DePies, Gregory John Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Humanitarian Empire: The Red Cross in Japan, 1877-1945 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Gregory John DePies Committee in Charge: Professor Takashi Fujitani, Chair Professor Todd Henry Professor Kwai Ng Professor Patrick Patterson Professor Nayan Shah 2013 Copyright Gregory John DePies, 2013 All rights reserved. The Dissertation of Gregory John DePies is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Chair University of California, San Diego 2013 iii TABLE OF CONTENTS Signature Page....................................................................................................................iii Table of Contents................................................................................................................iv -
Japanese Wood
JAPANESE WOOD The tools, techniques and philosophies that make Japan’s unique woodworking culture so special, and CRAFTSMANSHIP the lessons that can be learnt by makers in the UK HUGH MILLER 1 “Masonry and steel are ‘building’ materials. Wood is a ‘thinking and building’ material” Fukushima Katsu, 2015 Timber elevation in the Gion district of Kyoto 2 3 Tools and Techniques of Japanese Woodwork: 30 Control of the Pull-Stroke Use of Water Contents: Use of Fire Slice over Scratch Philosophies of Making: 56 An Absence of Noise Executive Summary: 6 Maintenance over Robustness Abstract A Search for Lightness Key Themes & Findings Experimentation and Innovation Summary of Recommendations A Contribution to Harmony About the Author 11 A Japanese Contemporary Vernacular Aesthetic: 96 A Maker’s Guide Acknowledgements 12 Japanese Contemporary Vernacular Aesthetic in Architecture Introduction 15 Conclusion 108 The Anatomy of this Study: 16 Recommendations 112 Structure Scope and Duration Bibliography and Further Reading 120 Methods Map 122 Craftsmanship and Society in Japan: 18 Craftsmanship in Everyday Life Tending the Flame of Tradition The Veneration of the Practitioner over the Object Age and Gender in the Order of Precedence Planes and chisels stored in Sugawara The Pressure-Cooker Effect Hiroyuki workshop, Saitama 4 5 Abstract: Executive Summary: In November and December 2015 I travelled to Japan on a Winston Churchill Memorial Fellowship in order to uncover what it is that makes wood craftsmanship in Japan so special. From their unique set of tools, to the many obscure techniques that have been developed, to the philosophies that guide decision making, there is something different about Japanese woodworking. -
Theories and Methods in Japanese Studies: Current State and Future Developments
Hans Dieter Ölschleger (ed.) Theories and Methods in Japanese Studies: Current State and Future Developments Papers in Honor of Josef Kreiner V&R unipress Bonn University Press Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.des abrufbar. ISBN 978-3-89971-355-8 Veröffentlichungen der Bonn University Press erscheinen im Verlag V&R unipress GmbH. © 2008, V&R unipress in Göttingen / www.vr-unipress.de Alle Rechte vorbehalten. Das Werk und seine Teile sind urheberrechtlich geschützt. Jede Verwertung in anderen als den gesetzlich zugelassenen Fällen bedarf der vorherigen schriftlichen Einwilligung des Verlages. Hinweis zu § 52a UrhG: Weder das Werk noch seine Teile dürfen ohne vorherige schriftliche Einwilligung des Verlages öffentlich zugänglich gemacht werden. Dies gilt auch bei einer entsprechenden Nutzung für Lehr- und Unterrichtszwecke. Printed in Germany. Gedruckt auf alterungsbeständigem Papier. Table of Contents PREFACE...........................................................................................................7 Ronald DORE Japan – Sixty Years of Modernization? .........................................................11 KUWAYAMA Takami Japanese Anthropology and Folklore Studies................................................25 ITŌ Abito The Distinctiveness and Marginality of Japanese Culture.............................43 FUKUTA AJIO -
Exotic and Mysterious Japan a Land of Endless Discovery and Contrasts
Exotic and Mysterious Japan A Land of Endless Discovery and Contrasts A Cultural Odyssey Featuring and 6 Hands-On Textile and Craft Immersion Traditional Japanese Art into Kimono, Ikebana, Sushi, Experiences Weaving, Dyeing, Tea Ceremony, Sake, Traditional Baths and more… “Uncommon Textile Journeys that Change Lives” Come Explore Japan… The Land of the Rising Sun May I introduce you… In addition to our Japanese guides, Dayna and Alan Fisk-Williams will be the Loom Dancer Odysseys’ Guides for this adventure. After living in Japan, teaching school for eight years, Dayna and Alan have a profound love of the country, a true respect for its way of life as well as an understanding of its unique culture. They just can’t stay away and have returned to Japan many times (10!). Not only are Dayna and Alan wonderful individuals and dear friends of mine, they work tremendously well as a team. Who could be better to take you on an epic textile and crafts adventure in Japan? You are in the very best of hands and I know the journey will be another Loom Dancer Odyssey that changes lives. So, let’s get to know a little bit about them … In the Spirit of Creative Adventure, Cari Meet Your Guides Dayna and Alan in Japan 30 years ago Dayna Fisk-Williams has joined forces with Loom Dancer Odysseys as a Guide Alan Fisk-Williams and as the Art Education Director for Loom Dancers in has been leading groups on adventures for over 45 Santa Fe. Using her Master’s Degree in education, years. -
Glimpses of Unfamiliar Japan Second Series by Lafcadio Hearn
Glimpses of Unfamiliar Japan Second Series by Lafcadio Hearn CONTENTS 1 IN A JAPANESE GARDEN …........................................P3 2 THE HOUSEHOLD SHRINE ….....................................P23 3 OF WOMEN'S HAIR …................................................P36 4 FROM THE DIARY OF AN ENGLISH TEACHER …..........P43 5 TWO STRANGE FESTIVALS …....................................P73 6 BY THE JAPANESE SEA …..........................................P79 7 OF A DANCING-GIRL …..............................................P89 8 FROM HOKI TO OKI …................................................P102 9 OF SOULS ….............................................................P137 10 OF GHOSTS AND GOBLINS …...................................P142 11 THE JAPANESE SMILE …..........................................P152 12 SAYONARA! …........................................................P165 NOTES …....................................................................P170 CHAPTERONE In a Japanese Garden Sec. 1 MY little two-story house by the Ohashigawa, although dainty as a bird- cage, proved much too small for comfort at the approach of the hot season—the rooms being scarcely higher than steamship cabins, and so narrow that an ordinary mosquito-net could not be suspended in them. I was sorry to lose the beautiful lake view, but I found it necessary to remove to the northern quarter of the city, into a very quiet Street behind the mouldering castle. My new home is a katchiu-yashiki, the ancient residence of some samurai of high rank. It is shut off from the street, or rather roadway, skirting the castle moat by a long, high wall coped with tiles. One ascends to the gateway, which is almost as large as that of a temple court, by a low broad flight of stone steps; and projecting from the wall, to the right of the gate, is a look-out window, heavily barred, like a big wooden cage. Thence, in feudal days, armed retainers kept keen watch on all who passed by—invisible watch, for the bars are set so closely that a face behind them cannot be seen from the roadway.