A presente pesquisa tem o objetivo de contribuir para os estudos das artes cênicas japonesas no Brasil, abordando a trajetória da coreógrafa japonesa, Ishii Kaoru (1932). Nascida e residente em Tóquio, Kaoru é a última aluna direta de um dos pioneiros da dança moderna no Japão, Ishii Baku (1886-1962). Com mais de 50 anos de carreira, ela é uma das mais experientes artistas em atividade no seu país. Tomando como base o material produzido durante a pesquisa de campo e as experiências geradas a partir do contato direto com a coreógrafa, a presente dissertação parte da premissa de que, através do percurso artístico de Kaoru, seria possível abordar questões relacionadas à criação em dança e à atuação do bailarino não apenas no contexto japonês mas também no âmbito das artes cênicas de forma abrangente. Assim, aponta-se a possibilidade de uma metodologia de pesquisa baseada na experiência do pesquisador-artista. / This research aims to contribute to the studies on Japanese performing arts in Brazil, broaching the trajectory of the Japanese choreographer, Ishii Kaoru (1932). Born and resident in Tokyo, Kaoru is the last direct pupil of one of the pioneers of modern dance in Japan, Ishii Baku (1886-1962). With over 50 years of career, Kaoru is one of the most experienced artists working actively in her country. Based on the material produced during the field research and the experiences generated from direct contact with the choreographer, this thesis assumes that through the artistic journey of Kaoru it would be possible to address issues related to the creation in dance and performance of the dancer not only in the Japanese context but also within the performing arts in a broad manner. In this way, it hints at the possibility of a research methodology based on researcher-artist experience.

A presente pesquisa tem o objetivo de contribuir para os estudos das artes cênicas japonesas no Brasil, abordando a trajetória da coreógrafa japonesa, Ishii Kaoru (1932). Nascida e residente em Tóquio, Kaoru é a última aluna direta de um dos pioneiros da dança moderna no Japão, Ishii Baku (1886-1962). Com mais de 50 anos de carreira, ela é uma das mais experientes artistas em atividade no seu país. Tomando como base o material produzido durante a pesquisa de campo e as experiências geradas a partir do contato direto com a coreógrafa, a presente dissertação parte da premissa de que, através do percurso artístico de Kaoru, seria possível abordar questões relacionadas à criação em dança e à atuação do bailarino não apenas no contexto japonês mas também no âmbito das artes cênicas de forma abrangente. Assim, aponta-se a possibilidade de uma metodologia de pesquisa baseada na experiência do pesquisador-artista. / This research aims to contribute to the studies on Japanese performing arts in Brazil, broaching the trajectory of the Japanese choreographer, Ishii Kaoru (1932). Born and resident in Tokyo, Kaoru is the last direct pupil of one of the pioneers of modern dance in Japan, Ishii Baku (1886-1962). With over 50 years of career, Kaoru is one of the most experienced artists working actively in her country. Based on the material produced during the field research and the experiences generated from direct contact with the choreographer, this thesis assumes that through the artistic journey of Kaoru it would be possible to address issues related to the creation in dance and performance of the dancer not only in the Japanese context but also within the performing arts in a broad manner. In this way, it hints at the possibility of a research methodology based on researcher-artist experience.

<p>Toshio Hosokawa. Sen VI. 11'</p><p>Toshi Ichiyanagi. The Source. 12'</p><p>Maki Ishii. Thirteen drums. 13'</p>

This dissertation will focus on the concepts of musical time of two solo multiple-percussion compositions, Thirteen Drums (1985) by Maki Ishii and Rebond A (1987-1989) by Iannis Xenakis. The aesthetic experience of musical works is tied to the perception of musical time. Performers have to understand the concepts and methods of construction of musical time in order to interpreting composer’s works. The model of cognitive process in neuroscience of music and the information processing theory from cognitive psychology is provided to explain the perception of musical time and its importance to the aesthetic experience of music. The rhythmic structure, which is essential in temporal structure to the perception of musical time, is examined in depth to show its significant influence on the aesthetic experience in both works. Rhythmic tension will also affect the aesthetic experience.

Quentin Tarantino är välkänd för att skriva bra dialog och lyfts ofta fram som skicklig på att skapa intressanta karaktärer. I denna studie analyseras tre av hans karaktärer O-Ren Ishii (Lucy Liu) från Kill Bill: Vol. 1 (2003), Hans Landa (Christoph Waltz) från Inglourious Basterds (2009) och Calvin Candie (Leonardo DiCaprio) från Django Unchained (2012). Målet med studien är förankra karaktärsteorin i konkreta exempel på karaktärer som är skapade av Tarantino, samt att bidra med kunskap om hur man skapar välgjorda karaktärer. Målet uppnås genom att svara på två frågeställningar: 1) Hur är karaktärerna O-Ren Ishii, Hans Landa och Calvin Candie uppbyggda? 2) Finns det ett mönster i hur Tarantino har skapat dessa tre karaktärer? För att kunna svara på frågeställningarna analyseras de tre karaktärerna utifrån karaktärsteori baserat på den information som kan erhållas i filmerna Kill Bill: Vol. 1, Inglourious Basterds och Django Unchained, filmmanuskripten till de tre filmerna och intervjuer med Quentin Tarantino. Studien visar att alla de tre karaktärerna är oförutsägbara och har en stor spridning av motstridiga egenskaper. Istället för att bygga på identifikation, empati eller sympati, bygger karaktärerna på att skapa spänning och att hålla publiken kognitivt aktiv.

This paper covers the development of the chemical weapons division founded by Ishii Shiro, and discusses the horrible experimentation that was done by the Japanese. These experiments have been a source of controversy. The Chinese feel the Japanese should acknowledge these as war crimes. When the Japanese left Manchuria, they left the world’s largest chemical waste dump behind, and even to this day the government refuses to admit the actions of Unit 731. The information on biological warfare that the Japanese discovered during the experimentation in China later was used as a negotiation tool with the United States to secure their freedom and gain immunity from prosecution for General Ishii Shiro and his men. This paper will show the evolution of Japanese biological warfare during WWII using research obtained from a wide range of documents, books, newspapers, and journal articles, as well as documents found at the National Archives.

After Japan occupied Manchuria in 1931, Ishii Shiro created Unit 731 and began testing biological weapons on unwilling human test subjects. The history of Imperial Japan’s human experiments was one in which Ishii and Unit 731 was the principal actor, but Unit 731 operated in a much larger context. The network in which 731 operated consisted of Unit 731 and all its sub-units, nearly every major Japanese university, as well as many people in Japan’s scientific and medical community, military hospitals, military and civilian laboratories, and the Japanese military as a whole. Japan’s racist ultra-nationalist movement heavily influenced these institutions and people; previous historians have failed to view Japan’s human experiments in this context. This thesis makes use of a combination of declassified United States government and military documents, including court documents and the interviews conducted during the Unit 731 Exhibition that traveled Japan in 1993 and 1994, and then recorded by Hal Gold in his book, Unit 731 Testimony, along with a number of secondary sources as supporting material. Each of these sources has informed this work and helped clarify that Unit 731 acted within a broader network of human experimentation and exploitation in a racist system, which normalized human atrocities. Attitudes of racism and superiority do not necessarily explain every action taken by Japanese military personnel and scientists, nor did every individual view their actions or the actions of their countrymen as morally correct, but it does help explain why these acts occurred. What enabled many Japanese scientists was the racist ideology of the ultra-nationalist movement in Japan.