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This study examines subsistence-settlement systems and residential mobility of prehistoric Jomon hunter-gatherers in Japan. Raw data were collected from Moroiso Phase (ca. 5000 B.P.) sites of the Early Jomon Period in the Kanto and Chubu regions. Many archaeologists have assumed that the Jomon people were sedentary inhabitants of large villages, occupied throughout the year. However, recent developments in Jomon studies suggest that we must reevaluate the assumption of Jomon sedentism. In this study, Moroiso Phase settlement patterns, including intersite lithic assemblage variability, site size and site location, are examined in the context of an ethnographic model of hunter-gatherer subsistence-settlement systems. The results indicate that the Moroiso Phase settlement patterns correspond very closely to those of hunter-gatherers who are relatively sedentary but move their residential bases seasonally. Changes of settlement patterns over time within the Moroiso Phase are also examined, and the results are explained in relation to changes in the natural environment.

This thesis will examine how gay men are depicted in mainstream Japanese pop culture. To be discussed are: gay-themed comics for girls, mainstream movies in which the protagonists are gay, and finally, gay men's magazines which are gay authored and consumed. In examining how fantasies in these texts respond to the needs of various readerships, it is possible to understand how important and challenging it is for gay Japanese men to create identities of their own, identities which will allow them more possibilities than the prevailing facade of compulsory heterosexuality, complete with marriage and children.

Este trabalho tem como objeto de estudo o mangá (história em quadrinhos japonesa) e sua utilização como instrumento de transmissão de cultura. Partindo da análise histórica e a posterior expansão mundial, procurouse entender como o mangá foi criado e como ele é entendido pelos japoneses e pelos ocidentais, especificamente os brasileiros. Um dos pontos apontados foi que os japoneses entendem o mangá como apenas quadrinhos; já os ocidentais, como um estilo. Como base de análise foi utilizado um mangá muito famoso, tanto no Japão quanto no Brasil, Rurouni Kenshin. Este mangá conta a história de um samurai errante no início da era Meiji que, arrependido de ter sido um assassino, passa a defender a vida de todos. Procurou-se identificar elementos que fazem referência à realidade e que podem ser usados como fonte de transmissão de conhecimento. Foram analisados aspectos como arquitetura, história, língua, entre outros, para comparar com os elementos reais. Ao fim da análise foi possível comprovar que existia uma relação do quadrinho com os elementos e fatos verdadeiros. Conclui-se que, o mangá pode ser visto como mera diversão, ou, se o leitor souber entender melhor seu conteúdo, pode ser utilizado como meio de transmissão de conhecimento. / This work´s subject is the Mangá (Japanese cartoon) and its use as a cultural transmission tool. Starting from the historical analysis and the subsequent world expansion, this work tried to understand how the mangá was created and how it is understood by the Japanese and the ocidental people, specifically Brazilians. One relevant point was that Japanese people see the mangá just as cartoons while ocidental people understand it as a style. The title chosen to be the studied is Rurouni Kenshin, a very famous mangá in Brazil as well as in Japan. This mangá tells the story of a wandering samurai in the beginning of the Meiji era, who, regretted of being an assassin, started to protect everyone´s life. We tried to identify elements in the story that were related to the reality and could be used as a source of knowledge transmission. Many aspects were used in this comparison, such as architectural, historical, linguistic, among others. In the end of the analysis it was possible to prove that there is a connection between the cartoon and the real facts. Therefore, mangá can be understood just like fun, but if the reader could understand its content in depth, it can be used as a knowledge transmission tool.

Orientador: Roberto Berton de Angelo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T07:56:25Z (GMT). No. of bitstreams: 1 Almeida_AngelaPrada_D.pdf: 44209189 bytes, checksum: 325da0af7c1faf9daa34119e12a721ef (MD5) Previous issue date: 2011 / Resumo: Esta Tese de Doutorado tem como objetivo analisar obras do fotógrafo japonês Hiroshi Sugimoto. Na introdução, são analisadas cinco séries de fotografias do artista: Dioramas, Portraits, Architecture, Theaters e Seascapes. A seguir, discussões sobre as séries Dioramas e Portraits são aprofundadas. O ponto de partida para os capítulos são as considerações do próprio fotógrafo sobre as obras. Nas análises, paradigmas do discurso fotográfico e características próprias da fotografia inter-relacionam-se com particularidades da cultura japonesa. No capítulo "Dioramas", são abordados: a invenção dos Dioramas no século XIX, a construção dos Dioramas nos Museus de História Natural, visão monocular, perspectiva artificial e representação realista e, por fim, o superlativismo realista na fotografia do Diorama dos Gorilas e o congelamento do tempo nas fotografias dos Dioramas. Já no capítulo "Portraits", discussões sobre a relação entre realismo e fotografia são retomadas, a partir da fotografia de retratos de pessoas falecidas. O discurso de articulação do real que permeia a representação de retratos é realizado à luz da presentificação de sujeitos históricos - membros da monarquia inglesa e monjes japoneses. As séries Dioramas e Portraits são formadas por múltiplas instâncias de representação, com características de formação fotográficas. As fotografias e idéias imagéticas criadas por Sugimoto sugerem conceitos teóricos e suscitam análises sobre construções culturais: maneiras de conceber a visualidade que nos cerca, a partir do olhar do fotógrafo / Abstract: This doctorate thesis aims to analyze works of Japanese photographer Hiroshi Sugimoto. In the introduction five series of photographs of the artist: Dioramas, Portraits, Architecture, Seascapes and Theaters are analyzed. Discussions about the series: Dioramas and Portraits are deepened. The starting point in the chapters are the photographer's own words about the series. In the analysis, paradigms of photographic discourse and characteristics of photography inter-relate to the particularities of Japanese culture. In the chapter "Diorama", the following topics are discussed: the invention of the Diorama in the nineteenth century, the construction of the Dioramas in the Museum of Natural History, monocular vision, artificial perspective, realistic representation, and finally, the superlative realistic representation of the Gorilla Diorama and the act of freezing time in the photographs of Dioramas. In the "Portraits" chapter, discussions about realism and photography are analysed in interrelation to portrait photography of deceased people. The sensation of reality that pervades the representation of portraits is examined in the light of materialization of historical figures - members of the English monarchy and Japanese monks. The Dioramas and Portraits series are composed of multiple representational instances, based on photographic formation characteristics. The photographs and imagery made by Sugimoto suggest theoretical concepts and raise photographic analysis of cultural constructions, ways of conceiving the visual world that surrounds us, from the view point of the photographer / Doutorado / Multimeios / Doutora em Multimeios

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-21T11:25:57Z No. of bitstreams: 1 André Noro dos Santos.pdf: 29750228 bytes, checksum: e9169b8e0a8eb8f264ac2242908e7884 (MD5) / Made available in DSpace on 2017-12-21T11:25:57Z (GMT). No. of bitstreams: 1 André Noro dos Santos.pdf: 29750228 bytes, checksum: e9169b8e0a8eb8f264ac2242908e7884 (MD5) Previous issue date: 2017-11-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The objective of this thesis is to analyze the behavior of the Brazilian otakus and how they imagine and translate their obsession with the Japanese culture. As an empirical object we chose the manga created by Brazilians and some otaku communities reunited in social networks and pop culture events. The hypothesis is that in the translation of the otaku culture and its media products, rather than a language search that could generate, for example, a "mongrel manga", is the mimesis and the assimilation of a behavior and a way of life which, in the Brazilian version, becomes quite unique and, not rarely, distant from some stereotypes generated by the Japanese themselves. In this regard, we observe that the Brazilian otakus have nothing to do with the image of the introspective otakus that marked the beginning of the movement in Japan. The theoretical fundation was based on foreign (e.g. Azuma and LaMarre) and Brazilian (e.g. Luyten, Nunes and Almeida) bibliographies that analyzed the phenomenon. In methodological terms, the research was also extended to the social networks, which constitute the major means of communication of the otakus, as well as to places of concentration of these groups such as the Liberdade neighborhood in São Paulo. The results indicate that the Brazilian otaku culture was gradually becoming another way of commercializing an imagined Japan (Greiner 2015 and 2017), differing from other experiences by focusing exclusively on Japanese culture, without adopting a generic Asian image / O objetivo desta tese é analisar o comportamento dos otakus brasileiros e o modo como imaginam e traduzem a sua obsessão pela cultura japonesa. Como objeto empírico elegemos o mangá criado por brasileiros e algumas comunidades otaku reunidas em redes sociais e eventos de cultura pop. A hipótese é que na tradução da cultura otaku e de seus produtos midiáticos, mais do que uma pesquisa de linguagem que poderia gerar, por exemplo, um “mangá mestiço”, trata-se da mimese e da assimilação de um comportamento e de um modo de vida que, na versão dos brasileiros, torna-se bastante singular e, não raramente, distante de alguns estereótipos gerados pelos próprios japoneses. Neste sentido, observamos que os otakus brasileiros nada têm a ver com a imagem dos otakus introspectivos que marcaram o início do movimento no Japão. A fundamentação teórica partiu de bibliografias estrangeiras (e.g. Azuma e LaMarre) e brasileiras (e.g. Luyten, Nunes e Almeida) que analisaram o fenômeno. Em termos metodológicos, a pesquisa foi também ampliada para as redes sociais, que se constituem como o principal meio de comunicação dos otakus, assim como para locais de concentração desses grupos, como o bairro da Liberdade em São Paulo. Os resultados indicam que a cultura otaku brasileira foi, aos poucos, se transformando em mais um meio de comercialização de um Japão imaginado (Greiner, 2015 e 2017), diferenciando-se de outras experiências por focar exclusivamente na cultura japonesa, sem adotar uma imagem genérica asiática

This thesis examines shojo manga (Japanese comics for girls) as a site of the subversion of gender. The focus will be on stories about cross-dressing, as the crossdressed heroine poses from the outset questions about the nature of girls within shojo manga and the girls who are supposedly reading the texts. The analysis takes place at two levels: visual language and narrative. Over the course of five chapters, focusing on a couple of series in each, this thesis will show the various ways categories of gender and sex are undermined in five different subgenres. Yet gender norms are recuperated in the end. The manga always return to the figure of the shojo , the ambiguously gendered "not-quite-female" female that must expire at adulthood and the regulatory function heterosexuality plays in this inevitable demise. Nevertheless shojo manga readers need not necessarily share this end. The various ways that the reader is positioned both visually and narratively suggests that her gender and sexuality remains ambiguous and indefinable.

This thesis follows my previous studies of modern Japanese society and popular culture. I will especially focus on gender stereotypes, particularly negative stereotypes concerning women who refuse to bow to a substantial pressure from society endowed with a strong Confucian tradition. It was this very tradition - together with a foreign concept akin to the Western domesticity cult - what gave rise to the ideal of "good wife, wise mother" (rjósai kenbo), which at least in some form remains quite tangible even in contemporary Japanese society. One of the tasks this thesis wants to undertake is to describe how the negative stereotyping of women who stood in either conscious or natural opposition towards this ideal affected portrayal of women in Japanese popular culture (especially comics), which can be a very good perpetuator of all kinds of stereotypes. At the same time, I would like to find out whether it managed to partially subvert at least some of the negative images of women who refused to be good wives and wise mothers. Key words: gender stereotypes, Japan, popular culture, comics, rjósai kenbo, manga

Orientadores: Arthur Hunold Lara, Anna Paula Gouveia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T21:01:22Z (GMT). No. of bitstreams: 1 Miyashiro_RafaelTadashi_M.pdf: 2986434 bytes, checksum: 3fda0ae87f24fcbcb7ecf99d04c85ebf (MD5) Previous issue date: 2009 / Resumo: O objetivo dessa dissertação foi pesquisar o tempo-espaço da criação da caligrafia japonesa, ou, em outras palavras, o ato da criação artística da caligrafia japonesa - em geral conhecida no Brasil como shodô e sho. Como percurso metodológico foi utilizada a idéia da complexidade, o que permitiu uma abordagem que considera a riqueza de nexos e relações nos vários componentes que formam a caligrafia japonesa, tanto na singularidade de cada parte, como na sua relação com o todo. Os tópicos abordados foram o histórico, os elementos simbólicos (linha e espaço), a materialidade e o corpo que faz a caligrafia. A pesquisa demonstrou que a caligrafia possui uma riqueza significativa, que ajuda a traçar um entendimento dessa arte como algo mais amplo - muito além de uma especialização dentro das escritas caligráficas, ou mesmo de um saber fragmentado dentro da cultura japonesa. Ultrapassando os traços da escrita, e mais do que um simples gesto, a caligrafia japonesa artística se apresenta como um ato dinâmico, formado de conexões, espaços e tempos, que deixam vestígios e marcas sensíveis e etéreas em sua criação. / Abstract: This dissertation is about the time-space interval of the Japanese Calligraphy, or in other words, the creative action of Japanese Calligraphy - usually known as shodô and sho in Brazil. The idea of complex systems has been used as a methodology guiding line, due to the sho/shodô network on its acting. This allowed to see every part of calligraphy as a significative one, as well as the merging of them all to do the calligraphy. The topics included shodô/sho history, the line and space, the materiality of calligraphy and the body that performs it. The research demonstrated that shodô/sho goes far beyond an act of writing or even a specialized field within Japanese culture. More than a simple gesture, Japanese calligraphy is a dynamic action, which is created through connections, spaces and times, that leaves vestiges and ethereal marks in its creation. / Mestrado / Mestre em Artes