Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [268]-280).

The purpose of this study is to serve as an introduction of the work of the contemporary Japanese author, Furukawa Hideo (b. 1966), to the Anglophone audience. I consider Furukawa to be a member of the 'post-Murakami' generation, not only in terms of chronology but also in terms of influence. Murakami Haruki (b. 1949) left an identifiable impact on Furukawa's fiction, however it would be erroneous to consider Furukawa a Murakami imitator. In this study, I attempt to highlight the elements that make Furukawa unique as an author; specifically his careful manipulation of the theme-space matrix, and his fast-paced style influenced by Furukawa's performances of his own literary works, and collaboration with musicians, which reflects Furukawa's position in the center of the contemporary cultural trend towards multimedia integration.

The famous Japanese critic, Kobayashi Hideo (1902–1983), passed through five broad stages up to 1945. In the first stage (1929–32), he sought to reinstate the claims of “the man,” the feeling, thinking human being, in writing, in place of the various literary dogmas adopted from the West: “Behind literature, see the man.” In the second stage, (1933–37), he attempted to define the “modern individual” in a Japanese society of change, anxiety and chaos, adopting the term the “socialized I” to explain his sense of a self integrated into society. In this period he sought a model in the West and found Dostoevsky. The impetus behind this stage can be summed up in the saying, “Behind the man, see society.” In Stage 3 (1938–39), Kobayashi concluded that the “silence” of Japanese people expressed a “wisdom” that accepted the “inevitable” or their “fate” in history. This stage can be summarized in the dictum “Behind society, see history.” Kobayashi’s key direction in stage four (1940–41) is “Behind history, see nature,” the latter term meaning nature (fused with humankind). In the fifth stage, from 1942 into the postwar period, Kobayashi adopted a Dostoevskian “harmony and serenity” in espousing a transcendence of the human realm, when the human organism in its greatest struggles sees the need for beauty in art. This stage can be summed up in the saying “Behind nature, see (that which inspires) beautiful literature.” The thesis charts these five stages with biographical material, some of it gleaned from interviews, and with analyses of Kobayashi’s works, as well as works by Dostoevsky, the alter-ego of Kobayashi from 1933–43. Kobayashi emerges as a figure who lived a complex series of intellectual and personal changes, in strong reaction to the revolutionary political and cultural transformations in prewar Japan. / PhD Doctorate

The ideas of Hideo Saito regarding conducting and conducting pedagogy are a valuable addition to the field, an addition that English-speaking people are likely to be unfamiliar with. Besides devising a unique collection of terms for talking about conducting, and assembling a set of exercises designed to facilitate the practice of a variety of gestures, Saito develops and operates from a framework which allows for the description and evaluation of almost any conceivable rhythmic gesture. While he pays attention to time, space, direction, size, and expectations, he often explores the ways velocity and changes in velocity can be employed to elicit desired sounds from players and singers. He is certainly not the first teacher to focus on the role of velocity in conducting gestures. However, the level of sophistication and thoroughness of his examination of velocity, and changes in velocity, is unique. His diagrams are noteworthy as well.Saito's conducting method is very popular in Japan. Seiji Ozawa, the Music Director/Conductor of the Boston Symphony Orchestra for more than 25 years, is just one of Saito's students who have had very successful conducting careers.This dissertation, in combination with accompanying videotaped examples of Morihiro Okabe teaching in the authentic Saito tradition, will provide the reader with an introduction to and an evaluation of the Saito conducting method. The reader will learn how to interpret Saito's diagrams of conducting motions, discover who the key people are, and view a Saito teacher instructing students. The reader will be introduced to the core teachings of Professor Saito, see what Saito's primary musical exercises are, and see how these exercises are used to promote musical and technical competence in conducting. This dissertation seeks to give the reader a foundation for further investigation of Saito's ideas and practices.This dissertation proposes, and employs English names for many gestures Saito labeled in Japanese. The Japanese terms are very descriptive of the motions. Providing equally descriptive English terms should be helpful to readers who are not fluent in Japanese. / School of Music

Thesis (Ph. D.)--University of Chicago, Dept. of East Asian Languages and Civilizations, August 2002. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph.D.)--The University of Chicago, 2002. / Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, 2002. / Includes bibliographical references (leaves 384-397). Also available on the Internet.

This essay analyzes Death Stranding, the 2019 release from contemporary game auteur Hideo Kojima. Here, I discuss the unique potentialities of this game world, detailing the ways in which Death Stranding expresses ecological perspectives. Asynchronous multiplayer serves as a unique metagame, helping to prove that play is a process of action which facilitates ecological thinking. The world of Death Stranding is filled with strange objects. The nonhuman entities that the player encounters throughout the game, for example, seem entirely alien. And yet, when these entities are properly understood, we realize that their inclusion is necessary--and natural. Your "job" in the game is to deliver packages. The player is made aware that here, in this digital world, objects have an unusual weight. What can we learn when we play this game? As the player becomes increasingly immersed in this digital world, Death Stranding motivates deeper thinking about the world outside of the game. Although this is a work of fiction, play helps us to consider our impact on the world at large. Death Stranding affords things their proper power and considers human existence in context with a larger, ecological whole.

What do we mean by “seeing”? Although we may see the same object in front of us, we each consciously or unconsciously select what we wish to see, eliminating information we find unnecessary. An artist or poet can see in even a tiny flower, which others barely notice, a wealth of colors or countless words. How then do our own eyes and those of others differ? This thesis aims to explore how the act of seeing shapes one’s life and influences it through a consideration of the works of Kobayashi Hideo 小林秀雄 (1902-1983), a literary critic in modern Japan. In 1949 Kobayashi published a long essay entitled “Watakushi no jinseikan” 私の人生観(My View of Life), originally given as a speech in 1948 when he was forty-six years old. In this work Kobayashi analyzes the word kan 観 (vision) with reference to more than forty historical figures from both the West and the East. The thesis selects for discussion two of these in particular, namely Miyamoto Musashi 宮本武蔵(1584-1645), a Japanese warrior of the early Edo era, and Henri Bergson (1859-1941), a major French philosopher of the twentieth century upon whom Kobayashi places special significance. While the primary focus is on interpreting this speech of Kobayashi’s, the thesis also discusses his earlier and later works in order to show the various transitions his philosophy went through over the course of his long career. The strong belief to which Kobayashi held on throughout his life as a literary critic is that the only way to see the essence of any object is to reject all rational and analytical interpretation and instead to unite one’s self with the objects: this was the ultimate approach that Kobayashi adopted in order to understand the word kan. This thesis finally addresses the question of whether this vision enabled Kobayashi to achieve his potential as a critic and as an individual.

Orientador: Paulo José de Siqueira Tiné / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T18:29:12Z (GMT). No. of bitstreams: 1 Shibata_Daisuke_M.pdf: 28496230 bytes, checksum: 4cd4a936d4051b23d2ad74db5c4d0431 (MD5) Previous issue date: 2014 / Resumo: Esta dissertação se debruça sobre a peça orquestral Bachianas Brasileiras n??2 de Heitor Villa-Lobos, uma das suas principais obras e mais frequentemente executada em concertos. Pretende-se, a partir do Método Saito de regência orquestral, apresentar propostas de interpretação na sua execução através da exposição sistemática tendo como base um cotejamento do manuscrito, versão editada e do áudio da interpretação do próprio compositor para, juntamente com a experiência prática do autor, chegar às soluções mencionadas. Além do Método Saito e da análise da Bachianas Brasileiras n? 2, esta dissertação apresenta um breve relato histórico do período de 1930 a 1945, auxiliando os leitores a compreender o contexto histórico e ideológico de Villa-Lobos / Abstract: This dissertation focuses on the orchestral piece Bachianas Brasileiras No. 2 by Heitor Villa-Lobos, one of his major works and more often performed in concerts. It intendes, based on the Saito Method for orchestral conducting, to present proposals for interpretation in its performance through a systematic exposure based on a readback of the manuscript, the edited version and the composer¿s own recording, along with the practical experience of the author, arrive at the mentioned solutions. Besides the Saito Method and the analysis of Bachianas Brasileiras No. 2, this dissertation presents a brief historical description of the period between 1930 and 1945, assisting the readers to understand the historical and ideological context of Villa-Lobos / Mestrado / Praticas Interpretativas / Mestre em Música