This study examines two translation approaches prominent among English translations of modern Japanese free verse poetry. The purpose is twofold: to provide a critical history of the first book-length English translations of individual poets, published over roughly a ten-year period; and to identify and examine, among those publications, works that took a distinctive and challenging translation approach. The main argument is that the chief works examined in this study each present a differing approach that challenges the dominant postwar discourse on translation in the Japanese literary studies community. The study fills a conspicuous gap in translation studies, since it is the first in-depth examination of modern Japanese poetry in translation. It focuses on two translation approaches, specifically “interpretive” and “source-oriented” translation, which have tended to be loosely associated with the vague notions of “free” translation and “literal” translation respectively. The importance of the study stems from its clarified definitions of these approaches through analyses of published translations featuring their rigorous use. It also suggests arguments for and implications of using and identifying these approaches, both for the translator and for translation scholars. Modern poetry was chosen as a genre because it features the two approaches prominently and because it was felt important to focus on a genre somewhat marginalised among publications of Japanese literature in translation. The study focuses in particular on translations published in the period 1968-1978, because this represented a flowering period of publications of modern Japanese poetry, including the first book-length publications of individual poets. Chapter One has two parts: definitions and contexts. The definitions section is a brief discussion of translation theory focusing on views that have gone beyond the “literal” versus “free” argument, and it examines a number of significant statements in the field of translations studies in order to develop useful definitions of key terms used throughout the study. The second half contextualises the significance of the chosen publications in the Japanese literary studies community. This includes a brief history of translation and translation theory focusing on the views of the dominant translators in the early postwar years, including discussions, disagreements or criticisms concerning the “right” way to translate. It also includes an analysis of attitudes towards modern poetry among scholars and translators of Japanese literature and a brief discussion of translations of modern Japanese poetry. Chapter Two examines poet Gary Snyder’s interpretive and transformative translations of Miyazawa Kenji’s (1896-1933) poems “Haru to shura” (Spring and Asura) and “Nusubito” (The Thief). The chapter shows how Snyder’s renditions of these poems can be related to the structure and themes of his own poetry collection The Back Country (1968) in which the translations appeared. By throwing his interpretive reading of these poems into the translations, as well as making some creative adjustments, Snyder allows the translations to fit within the thematic movement of his own collection. This chapter also argues that the act of identifying interpretive approaches in the case of poet-translators can be an an important tool in establishing links between the translations and the poet’s original literary works, and even further links with the poet’s life and philosophy. Chapter Three examines Hiroaki Sato’s translations of Hagiwara Sakutarō (1886-1942) in Howling at the Moon (1978). Sato takes an estranging, source-oriented approach similar to Lawrence Venuti’s concept of “foreignisation”, an approach that signals the difference of the source text and culture by departing from accepted language usage. With Sato’s translations we can observe the estranging effect of the source-oriented approach working in two directions: suggesting the difference of source text syntax from the target language perspective; and giving an equivalent effect of some unusual language use that was already estranging for source language readers. Sato sees the estranging function of Sakutarō’s syntax as an essential element of his poetry, and has developed his whole translation strategy around this view. Chapter Four discusses Cid Corman and Kamaike Susumu’s translations of Kusano Shinpei’s frog poems in frogs &. others. (1969). As with Sato’s versions of Sakutarō, Corman and Kamaike take a source-oriented approach, and their clever use of text selection and ordering as translation strategies has enabled them to convey their interpretation of Kusano Shinpei’s frog poems as directing a defamiliarising gaze back at humans and human society. Rather than aiming for complete linguistic accuracy as Sato does, they focus on a mirror-image source-oriented approach—often reproducing the source text’s word order and line order—not only as a means to suggest Kusano’s syntax, but also as a form of language experimentation and wordplay that enables their translations to stand out as autonomous poetic texts.

This study examines two translation approaches prominent among English translations of modern Japanese free verse poetry. The purpose is twofold: to provide a critical history of the first book-length English translations of individual poets, published over roughly a ten-year period; and to identify and examine, among those publications, works that took a distinctive and challenging translation approach. The main argument is that the chief works examined in this study each present a differing approach that challenges the dominant postwar discourse on translation in the Japanese literary studies community. The study fills a conspicuous gap in translation studies, since it is the first in-depth examination of modern Japanese poetry in translation. It focuses on two translation approaches, specifically “interpretive” and “source-oriented” translation, which have tended to be loosely associated with the vague notions of “free” translation and “literal” translation respectively. The importance of the study stems from its clarified definitions of these approaches through analyses of published translations featuring their rigorous use. It also suggests arguments for and implications of using and identifying these approaches, both for the translator and for translation scholars. Modern poetry was chosen as a genre because it features the two approaches prominently and because it was felt important to focus on a genre somewhat marginalised among publications of Japanese literature in translation. The study focuses in particular on translations published in the period 1968-1978, because this represented a flowering period of publications of modern Japanese poetry, including the first book-length publications of individual poets. Chapter One has two parts: definitions and contexts. The definitions section is a brief discussion of translation theory focusing on views that have gone beyond the “literal” versus “free” argument, and it examines a number of significant statements in the field of translations studies in order to develop useful definitions of key terms used throughout the study. The second half contextualises the significance of the chosen publications in the Japanese literary studies community. This includes a brief history of translation and translation theory focusing on the views of the dominant translators in the early postwar years, including discussions, disagreements or criticisms concerning the “right” way to translate. It also includes an analysis of attitudes towards modern poetry among scholars and translators of Japanese literature and a brief discussion of translations of modern Japanese poetry. Chapter Two examines poet Gary Snyder’s interpretive and transformative translations of Miyazawa Kenji’s (1896-1933) poems “Haru to shura” (Spring and Asura) and “Nusubito” (The Thief). The chapter shows how Snyder’s renditions of these poems can be related to the structure and themes of his own poetry collection The Back Country (1968) in which the translations appeared. By throwing his interpretive reading of these poems into the translations, as well as making some creative adjustments, Snyder allows the translations to fit within the thematic movement of his own collection. This chapter also argues that the act of identifying interpretive approaches in the case of poet-translators can be an an important tool in establishing links between the translations and the poet’s original literary works, and even further links with the poet’s life and philosophy. Chapter Three examines Hiroaki Sato’s translations of Hagiwara Sakutarō (1886-1942) in Howling at the Moon (1978). Sato takes an estranging, source-oriented approach similar to Lawrence Venuti’s concept of “foreignisation”, an approach that signals the difference of the source text and culture by departing from accepted language usage. With Sato’s translations we can observe the estranging effect of the source-oriented approach working in two directions: suggesting the difference of source text syntax from the target language perspective; and giving an equivalent effect of some unusual language use that was already estranging for source language readers. Sato sees the estranging function of Sakutarō’s syntax as an essential element of his poetry, and has developed his whole translation strategy around this view. Chapter Four discusses Cid Corman and Kamaike Susumu’s translations of Kusano Shinpei’s frog poems in frogs &. others. (1969). As with Sato’s versions of Sakutarō, Corman and Kamaike take a source-oriented approach, and their clever use of text selection and ordering as translation strategies has enabled them to convey their interpretation of Kusano Shinpei’s frog poems as directing a defamiliarising gaze back at humans and human society. Rather than aiming for complete linguistic accuracy as Sato does, they focus on a mirror-image source-oriented approach—often reproducing the source text’s word order and line order—not only as a means to suggest Kusano’s syntax, but also as a form of language experimentation and wordplay that enables their translations to stand out as autonomous poetic texts.

This study examines two translation approaches prominent among English translations of modern Japanese free verse poetry. The purpose is twofold: to provide a critical history of the first book-length English translations of individual poets, published over roughly a ten-year period; and to identify and examine, among those publications, works that took a distinctive and challenging translation approach. The main argument is that the chief works examined in this study each present a differing approach that challenges the dominant postwar discourse on translation in the Japanese literary studies community. The study fills a conspicuous gap in translation studies, since it is the first in-depth examination of modern Japanese poetry in translation. It focuses on two translation approaches, specifically “interpretive” and “source-oriented” translation, which have tended to be loosely associated with the vague notions of “free” translation and “literal” translation respectively. The importance of the study stems from its clarified definitions of these approaches through analyses of published translations featuring their rigorous use. It also suggests arguments for and implications of using and identifying these approaches, both for the translator and for translation scholars. Modern poetry was chosen as a genre because it features the two approaches prominently and because it was felt important to focus on a genre somewhat marginalised among publications of Japanese literature in translation. The study focuses in particular on translations published in the period 1968-1978, because this represented a flowering period of publications of modern Japanese poetry, including the first book-length publications of individual poets. Chapter One has two parts: definitions and contexts. The definitions section is a brief discussion of translation theory focusing on views that have gone beyond the “literal” versus “free” argument, and it examines a number of significant statements in the field of translations studies in order to develop useful definitions of key terms used throughout the study. The second half contextualises the significance of the chosen publications in the Japanese literary studies community. This includes a brief history of translation and translation theory focusing on the views of the dominant translators in the early postwar years, including discussions, disagreements or criticisms concerning the “right” way to translate. It also includes an analysis of attitudes towards modern poetry among scholars and translators of Japanese literature and a brief discussion of translations of modern Japanese poetry. Chapter Two examines poet Gary Snyder’s interpretive and transformative translations of Miyazawa Kenji’s (1896-1933) poems “Haru to shura” (Spring and Asura) and “Nusubito” (The Thief). The chapter shows how Snyder’s renditions of these poems can be related to the structure and themes of his own poetry collection The Back Country (1968) in which the translations appeared. By throwing his interpretive reading of these poems into the translations, as well as making some creative adjustments, Snyder allows the translations to fit within the thematic movement of his own collection. This chapter also argues that the act of identifying interpretive approaches in the case of poet-translators can be an an important tool in establishing links between the translations and the poet’s original literary works, and even further links with the poet’s life and philosophy. Chapter Three examines Hiroaki Sato’s translations of Hagiwara Sakutarō (1886-1942) in Howling at the Moon (1978). Sato takes an estranging, source-oriented approach similar to Lawrence Venuti’s concept of “foreignisation”, an approach that signals the difference of the source text and culture by departing from accepted language usage. With Sato’s translations we can observe the estranging effect of the source-oriented approach working in two directions: suggesting the difference of source text syntax from the target language perspective; and giving an equivalent effect of some unusual language use that was already estranging for source language readers. Sato sees the estranging function of Sakutarō’s syntax as an essential element of his poetry, and has developed his whole translation strategy around this view. Chapter Four discusses Cid Corman and Kamaike Susumu’s translations of Kusano Shinpei’s frog poems in frogs &. others. (1969). As with Sato’s versions of Sakutarō, Corman and Kamaike take a source-oriented approach, and their clever use of text selection and ordering as translation strategies has enabled them to convey their interpretation of Kusano Shinpei’s frog poems as directing a defamiliarising gaze back at humans and human society. Rather than aiming for complete linguistic accuracy as Sato does, they focus on a mirror-image source-oriented approach—often reproducing the source text’s word order and line order—not only as a means to suggest Kusano’s syntax, but also as a form of language experimentation and wordplay that enables their translations to stand out as autonomous poetic texts.

This study examines two translation approaches prominent among English translations of modern Japanese free verse poetry. The purpose is twofold: to provide a critical history of the first book-length English translations of individual poets, published over roughly a ten-year period; and to identify and examine, among those publications, works that took a distinctive and challenging translation approach. The main argument is that the chief works examined in this study each present a differing approach that challenges the dominant postwar discourse on translation in the Japanese literary studies community. The study fills a conspicuous gap in translation studies, since it is the first in-depth examination of modern Japanese poetry in translation. It focuses on two translation approaches, specifically “interpretive” and “source-oriented” translation, which have tended to be loosely associated with the vague notions of “free” translation and “literal” translation respectively. The importance of the study stems from its clarified definitions of these approaches through analyses of published translations featuring their rigorous use. It also suggests arguments for and implications of using and identifying these approaches, both for the translator and for translation scholars. Modern poetry was chosen as a genre because it features the two approaches prominently and because it was felt important to focus on a genre somewhat marginalised among publications of Japanese literature in translation. The study focuses in particular on translations published in the period 1968-1978, because this represented a flowering period of publications of modern Japanese poetry, including the first book-length publications of individual poets. Chapter One has two parts: definitions and contexts. The definitions section is a brief discussion of translation theory focusing on views that have gone beyond the “literal” versus “free” argument, and it examines a number of significant statements in the field of translations studies in order to develop useful definitions of key terms used throughout the study. The second half contextualises the significance of the chosen publications in the Japanese literary studies community. This includes a brief history of translation and translation theory focusing on the views of the dominant translators in the early postwar years, including discussions, disagreements or criticisms concerning the “right” way to translate. It also includes an analysis of attitudes towards modern poetry among scholars and translators of Japanese literature and a brief discussion of translations of modern Japanese poetry. Chapter Two examines poet Gary Snyder’s interpretive and transformative translations of Miyazawa Kenji’s (1896-1933) poems “Haru to shura” (Spring and Asura) and “Nusubito” (The Thief). The chapter shows how Snyder’s renditions of these poems can be related to the structure and themes of his own poetry collection The Back Country (1968) in which the translations appeared. By throwing his interpretive reading of these poems into the translations, as well as making some creative adjustments, Snyder allows the translations to fit within the thematic movement of his own collection. This chapter also argues that the act of identifying interpretive approaches in the case of poet-translators can be an an important tool in establishing links between the translations and the poet’s original literary works, and even further links with the poet’s life and philosophy. Chapter Three examines Hiroaki Sato’s translations of Hagiwara Sakutarō (1886-1942) in Howling at the Moon (1978). Sato takes an estranging, source-oriented approach similar to Lawrence Venuti’s concept of “foreignisation”, an approach that signals the difference of the source text and culture by departing from accepted language usage. With Sato’s translations we can observe the estranging effect of the source-oriented approach working in two directions: suggesting the difference of source text syntax from the target language perspective; and giving an equivalent effect of some unusual language use that was already estranging for source language readers. Sato sees the estranging function of Sakutarō’s syntax as an essential element of his poetry, and has developed his whole translation strategy around this view. Chapter Four discusses Cid Corman and Kamaike Susumu’s translations of Kusano Shinpei’s frog poems in frogs &. others. (1969). As with Sato’s versions of Sakutarō, Corman and Kamaike take a source-oriented approach, and their clever use of text selection and ordering as translation strategies has enabled them to convey their interpretation of Kusano Shinpei’s frog poems as directing a defamiliarising gaze back at humans and human society. Rather than aiming for complete linguistic accuracy as Sato does, they focus on a mirror-image source-oriented approach—often reproducing the source text’s word order and line order—not only as a means to suggest Kusano’s syntax, but also as a form of language experimentation and wordplay that enables their translations to stand out as autonomous poetic texts.

Thirteen assorted fairy tales by early 20th century Japanese poet/author Miyazawa Kenji, collected and translated with an analytical introduction by the translator. The introduction explores the presence of "the agent of the outside" in the majority of the author's work and how this literary concept serves to encourage the reader to escape subjective viewpoints.

Tese (doutorado)—Universidade de Brasília, Faculdade de Administração, Economia, Contabilidade e Ciência da Informação e Documentação, Departamento de Economia, 2009. / Submitted by Allan Wanick Motta (allan_wanick@hotmail.com) on 2010-07-14T18:58:09Z No. of bitstreams: 1 2009_LeopoldoCostaJunior.pdf: 1230153 bytes, checksum: 23c4157ced7bcdb2a3379b927c70da07 (MD5) / Approved for entry into archive by Luanna Maia(luanna@bce.unb.br) on 2011-01-30T17:39:36Z (GMT) No. of bitstreams: 1 2009_LeopoldoCostaJunior.pdf: 1230153 bytes, checksum: 23c4157ced7bcdb2a3379b927c70da07 (MD5) / Approved for entry into archive by Luanna Maia(luanna@bce.unb.br) on 2011-01-30T17:59:09Z (GMT) No. of bitstreams: 1 2009_LeopoldoCostaJunior.pdf: 1230153 bytes, checksum: 23c4157ced7bcdb2a3379b927c70da07 (MD5) / Made available in DSpace on 2011-01-30T17:59:09Z (GMT). No. of bitstreams: 1 2009_LeopoldoCostaJunior.pdf: 1230153 bytes, checksum: 23c4157ced7bcdb2a3379b927c70da07 (MD5) Previous issue date: 2009 / Mudança estrutural e desemprego parecem ser características do processo de desenvolvimento econômico. O objetivo dessa tese é estudar a dinâmica da mudança estrutural usando a noção de setor verticalmente integrado e o modelo de produção com trabalho apenas de Pasinetti (1973, 1981, 1988, 1993). No Capítulo I, “Introdução”, apresentamos o objetivo da tese e a relevância de se usar um modelo multi-setorial de crescimento com taxas de crescimento e comportamento diferenciados tanto dos setores quanto das famílias para lidar com a questão do desenvolvimento econômico e com a mudança estrutural que o caracteriza. A questão do consumo sempre foi negligenciada em modelos de inspiração sraffiana, muito mais preocupados com o lado da produção ao contrário de outras escolas keynesianas. No Capítulo II, fazemos uma extensão ao modelo pasinettiano para contemplar diferentes perfis de consumo e entender como a heterogeneidade das famílias contribui para explicar a mudança estrutural. Verificamos que essa heterogeneidade se mostrou importante para a explicar a necessidade da emergência de instituições, como um banco central, para garantir a estabilidade de preços (através de uma escolha adequada de numerário) e uma taxa justa – no sentido de preservar o trabalho incorporado nas mercadorias - para transferir poder de compra entre as famílias ao longo do tempo (a taxa ‘natural’ de juros de Pasinetti). Uma ilustração numérica do modelo se encontra no ApêndiceA. Apesar da dificuldade da manutenção do pleno emprego em um modelo de mudança estrutural e do impacto da idéia de oferta ilimitada de mão-de-obra na literatura sobre o desenvolvimento econômico, essa abordagem foi ignorada pelas escolas pós-keynesianas. No Capítulo III, é feita uma extensão ao modelo de produção com trabalho apenas para considerar a dualidade entre os setores. O modelo dualista de produção com trabalho apenas e diferentes perfis de consumo é uma interpretação pasinettiana do modelo dualista proposto por Arthur Lewis (1954) do ponto de vista de um modelo de mudança estrutural. O resultado da análise nos pareceu promissor porque ilumina o papel que os setores de subsistência têm na economia, não apenas como reserva de mão-de-obra a ser usada pelos setores modernos para se expandir, mas também para estabilizar a demanda efetiva. Naturalmente, a presença cada vez maior dos setores de serviços na economia é também uma manifestação de mudança estrutural. No Capítulo IV é examinado quanto os setores de serviços contribuem para a produtividade do trabalho da economia como um todo e de cada um dos setores em particular no Brasil entre 1990 e 2003, usando a noção de setor verticalmente integrado desenvolvida por Pasinetti (1973). Os resultados obtidos evidenciam que os setores de serviços têm menor produtividade que os demais setores, mas essa diferença diminui quando consideramos a produtividade total ao invés da produtividade direta. A razão principal é o efeito induzido pela produtividade maior dos outros setores sobre os setores de serviços. Todavia o comportamento dos setores de serviços não é homogêneo, o setor “Comunicações”, no caso, apresenta produtividade direta do trabalho bastante elevada e não muito distante da produtividade total, sendo que o efeito induzido dos setores agrícolas e manufatureiros, apesar de menor do que os outros setores de serviços, ainda é expressivo. A base de dados e as tabelas auxiliares usadas nessa análise estão no Apêndice B. Finalmente, no Capítulo V, “Conclusão”, apresentamos as conclusões da tese e fazemos duas digressões. A primeira digressão, sobre consumo, ressalta a importância do aprendizado nas relações de consumo e a necessidade de se considerar o contexto institucional para se definir o objeto desse aprendizado. Na segunda digressão, sobre o emprego, discutimos como o desemprego (ou subemprego) se manifesta como privação da autonomia do indivíduo e como mecanismo gerador de exclusão social e a necessidade de se identificar o tipo de desenvolvimento econômico que se deseja. Terminamos a tese sugerindo extensões e pesquisas promissoras que podem ser feitas nessa mesma linha de pesquisa. _______________________________________________________________________________ ABSTRACT / Structural changes and unemployment seems to be characteristics of economic development processes. The purpose of this thesis is to study the dynamic of structural change using the notion of vertically integrated sector and the pure labour model developed by Pasinetti (1973, 1981, 1988, 1993). In Chapter I, we present the objective of the thesis and the relevance of using a multi-sectoral growth model with different growth rates and behaviour of both sectors and families to deal with the issue of economic development and structural change. The question of consumption has always been neglected in models of Sraffian inspiration, much more concerned with the production side as opposed to other Keynesian schools. In Chapter II, we extend the pure labour model in order to deal with different consumption profiles and to understand how the heterogeneity of families help to explain the structural change. We found that this heterogeneity proved to be important for explaining the need for the emergence of institutions like a central bank to ensure price stability (through an appropriate choice of numéraire) and a fair rate - to preserve the labour incorporated in commodities - for transferring purchasing power of families over time (the Pasinetti’s 'natural' rate of interest). An illustration of the numerical model is in Appendix A. Despite the difficulty of maintaining full employment in a model of structural change and the impact of the idea of unlimited supply of labour in the literature on economic development, this approach has been ignored by the post-Keynesian schools. In Chapter III, Pasinetti’s pure labour model is extended to consider dualism among sectors. The dual pure labour model with different consumption profiles is a Pasinettian interpretation of the dualistic model of Lewis’ inside structural change model point of view. The result seemed promising because it illuminates the role of the subsistence sector in the economy, not only as a reserve labour force to be used by modern sectors to expand, but also to stabilize the effective demand. Of course, the growing presence of service industries in the economy is also a manifestation of structural change. In Chapter IV, it is examined how much the services sectors contribute to the labour productivity of the economy as a whole and for each of the sectors in particular in Brazil between 1990 and 2003, using the notion of vertically integrated sector developed by Pasinetti (1973). The results show that the services sectors have lower productivity than the other sectors, but the difference diminishes when considering the total productivity instead of direct productivity. The main reason is the effect induced by increased productivity of other sectors on the services sectors. However the behaviour of the services sector is not homogenous, the sector "Communications" in the case, has direct labour productivity very high and not far from the total productivity labour, and the effect produced by the agricultural and manufacturing sectors, although lower the other service sectors, is still significant. The database and the auxiliary tables used in this analysis are in Appendix B. Finally, in Chapter V, we present the conclusions of the thesis and make two digressions. The first digression, on consumption, highlights the importance of learning in consumer relations and the need to consider the institutional context to define the object of learning. In the second digression, on the employment, we discussed how the unemployment (or underemployment) is expressed as the deprivation of personal autonomy and as the source of social exclusion and the need to identify the type of economic development that we want. The thesis is ended by suggesting extensions and promising research that can be made on the same line of research.

This Master’s Thesis was part of the project called Multimodalanalysis at the Depart-ment of Biomedical Engineering and Informatics at the Ume˚ University Hospital inUme˚ Sweden. The aim of the project is to develop multivariate measurement anda,analysis methods of the skeletal muscle physiology. One of the methods used to scanthe muscle is functional ultrasound. In a study performed by the project group datawas aquired, where test subjects were instructed to follow a certain exercise scheme,which was measured. Since there currently is no superior method to analyze the result-ing data (in form of ultrasound video sequences) several methods are being looked at.One considered method is called Independent Vector Analysis (IVA). IVA is a statisticalmethod to find independent components in a mix of components. This Master’s Thesisis about segmenting and analyzing the ultrasound images with help of IVA, to validateif it is a suitable method for this kind of tasks.First the algorithm was tested on generated mixed data to find out how well itperformed. The results were very accurate, considering that the method only usesapproximations. Some expected variation from the true value occured though.When the algorithm was considered performing to satisfactory, it was tested on thedata gathered by the study and the result can very well reflect an approximation of truesolution, since the resulting segmented signals seem to move in a possible way. But themethod has weak sides (which have been tried to be minimized) and all error analysishas been done by human eye, which definitly is a week point. But for the time being itis more important to analyze trends in the signals, rather than analyze exact numbers.So as long as the signals behave in a realistic way the result can not be said to becompletley wrong. So the overall results of the method were deemed adequate for the application at hand. / Multimodalanalys

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.