Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-17T12:08:36Z No. of bitstreams: 1 arquivo total.pdf: 1100397 bytes, checksum: d261bd1a508b226944d689ae505681c6 (MD5) / Made available in DSpace on 2016-06-17T12:08:36Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 1100397 bytes, checksum: d261bd1a508b226944d689ae505681c6 (MD5) Previous issue date: 2015-03-03 / This research conducts a study of the novel The Japanese Garden, of Brazilian Ana Suzuki, published in 1986, in order to verify the in-between where they mix different histories crossed by cultural identities in conflict. Based on the hypothesis that the mixed garden in the narrative, enables cultural assimilation meetings and resistance from Japanese immigrants and their descendants Japanese-Brazilians, the dissertation focuses on the hybrid space resulting from the diaspora meetings and simultaneously, the construction of the Japanese Garden of Yoneda character. To reflect on the cultural exchange between cherry blossoms and yellow trumpet trees, Japanese and Brazilian, that move and bloom the third bank, involved in conflict cultural situations of integration, draws on the theoretical foundation and critical concepts as in-between (Silviano Santiago), cultural identity (Stuart Hall), hybrid (Homi Bhabha), transculturation (Fernando Ortiz, Ángel Rama), and several other studies of the Japanese immigration to Brazil in order to point out elements of this common place that is Latin America. / Esta pesquisa realiza um estudo do romance O Jardim Japonês, da brasileira Ana Suzuki, publicado em 1986, com a finalidade de verificar o entre-lugar onde se mesclam distintas histórias, atravessado por identidades culturais em confronto. Com base na hipótese de que o jardim misto, na narrativa, possibilita encontros culturais de assimilação e resistência por parte dos imigrantes japoneses e seus descendentes nipo-brasileiros, a dissertação focaliza o espaço híbrido decorrente dos encontros da diáspora e, em simultâneo, a construção do jardim japonês da personagem Yoneda. Para refletir sobre as trocas culturais entre flores de cerejeira e ipês amarelos, japoneses e brasileiros, que se movimentam e florescem na terceira margem, envolvidos em conflitivas situações culturais de integração, vale-se da fundamentação teórica e crítica de conceitos como entre-lugar (Silviano Santiago), identidade cultural (Stuart Hall), hibridismo (Homi Bhabha), transculturação (Fernando Ortiz; Ángel Rama), e diversos outros estudos sobre a imigração japonesa para o Brasil com o objetivo de apontar elementos desse lugar comum que é a América Latina.

Diploma thesis called “CONVERSION OF DORMITORY TO HOSTEL AND NEW DESIGN OF HOTEL, TOMIOKA SILK MILL JAPAN“ was elaborated according to the regulations in the form of architectural study. The topics of this thesis were two variants of possible conversion of accommodation for workwomen (dormitory). The partial assignment comprised solution to the arrangement of greenery in the atrium of the dormitory, and revitalization of plateau. The building is located in the premise of a former silk mill in the city Tomioka in the Gunma prefecture on the Honshu island in Japan. The conversion of the building for the novel purpose required replenishment of necessary facilities, and some building interventions to assure operation of the hostel. In both variants, partial adjustment of the original building was needed. However, all changes had to maintain proportions and volume of the building not to compromise the original concept of whole premise as well as the skyline of the city. The adjustments of the original building of dormitory consisted of a completion of the entrance portal including a foyer, and a reception with the base of operation. Large glass areas in combination with exposed concrete were used as construction materials. These materials were selected so that the new structures (monolithic ferroconcrete) are clearly distinguishable from original ones (wood). The Internal atrium was designed in the style of modern japan garden with various types of surfaces (vegetation – moss; mineral – gravel and stones). Variant 1 – the new constructions of the two facility buildings. Building A is washroom building, and building B is catering building with toilets. The volumes of individual objects were formed by simple prisms rotated by 30° a 60° against axis of dormitory. These volumes complied with dimensions of the original building. The building A protruded on the edge of the slope, and it was paneled with glass plates. The building B was glassed-in from the south, while the northern side was constructed from exposed concrete in a compact way. The building A was divided to two symmetric parts by a central wall for both structural and functional purposes. At the end of the building, there was an ofuro (swimming pool) providing views of the surrounding mountains. Typological solution of the building B included separate toilets with a mixed washroom, which were located in the northern part of the building. In the southern part, the space for catering was divided to an operational space, and a space for visitors by a dispensing counter. The building A was from reinforced concrete and was founded on the base plate. The central wall represented the main load-bearing structural element that prevents transverse breakage. The central wall was anchored into the ground with piles. The building B was also from reinforced concrete and was based on the strip foundations. Variant 2 – the extension was formed as a simple prism that complied with the rectangular system of the premise and dimensions of the original dormitory building. Employed materials of the new constructions were concrete and glass similarly to the other new extensions. To ensure intimate environment, the glass part of a façade was enclosed by a bamboo fence. This space was also used as a viewable green garden. The building was typologically divided to the parts for women and men. Both parts were equipped with ofuro. The building was monolithic ferroconcrete skeleton based on the footings.

Tout au long de leur histoire, les Japonais ont cultivé précieusement leurs propres traditions, tout en assimilant lescultures voisines, celles d’Asie continentale (Chine, Corée), puis celles apportées par l’Occident. Pourtant, aujourd’hui,au début du XXIe siècle, leur vie quotidienne est marquée par le monde occidental et il nous semble que « la traditionjaponaise » commence à tomber en désuétude. Le mot « tradition » prend même une couleur exotique à leurs yeux, etdésormais, ce sont les Occidentaux qui tournent leur regard vers la tradition japonaise. Parmi eux, deux compositeursfrançais, Laurent Martin (1959-) et Jean-Luc Hervé (1960-). L’objet de leurs recherches est le moteur de leur créationmusicale et leur intérêt pour le Japon ne se limite pas à des stéréotypes. Laurent Martin s’intéresse au premier chef à lalittérature japonaise et Jean-Luc Hervé est attiré avant tout par l’agencement du paysage japonais (architecture, jardins).Tous deux sont en quête de ce qui est ignoré ou oublié des Japonais eux-mêmes : « la tradition japonaise », qui est digned’être perpétuée ou remise à jour. Les centres d’intérêt de ces deux compositeurs ont nourri le sujet de notre recherche.Après avoir étudié les particularités des cultures japonaise et française, leurs points communs et ce qui les différencie,nous analyserons Poèmes japonais de Laurent Martin et Effet lisière de Jean-Luc Hervé sous divers angles. À partir deces deux modèles musicaux, nous nous demanderons comment les Japonais eux-mêmes peuvent appréhender leurspropres traditions au sein de la société moderne. / During their long history, the Japanese people had managed at the same time to cultivate carefully their own traditionswhile integrating the surrounding cultures, first those of continental Asia (China, Corea), then the Western cultures. Andyet, nowadays, it seems that the daily life of the Japanese people has become more and more westernized while the socalledJapanese tradition is receding. For the Japanese, the term itself of “tradition” seems to take an exotic meaning andhenceforth, Westerners are now mainly taking interest in the Japanese tradition, and among them, two contemporaryFrench composers, Laurent Martin (1959-) and Jean-Luc Hervé (1960-). The object of their research constitutes thedynamic of their musical creation and their interest in Japan is not confined to stereotypes. Laurent Martin’s maininterest lies in Japanese literature while Jean-Luc Hervé is attracted above all by the layout of Japanese landscapes (inarchitecture and gardens). Both are delving into what the Japanese people are ignoring or forgetting, i.e., the “Japanesetradition” which merits to be perpetuated and brought up to date. The fields of interest of the two composers are theobject of this present research. After studying the particularities of Japanese and French cultures, their commun featuresand their differences, we will analyse Laurent Martin’s Poèmes japonais and Jean-Luc Hervé, Effet lisière from variousperspectives. From those two musical models we will then ask ourselves how Japanese people can assess their owntraditions within modern society.