In thesis "Explicit depictions of contemporary Japanese literature" I deal with contemporary prose literature describing problems of nowadays Japanese society. In the first part I define taboo and chose suitable novels for the need of this work. I focus on different types of characters - freeters, foreigners, social outsiders and victims. Next I take Murakami Ry's literature as an example of explicit depictions and show different ways of processing and various topics chosen by the author. Then I compare and contrast his work with selected prose of younger writer Kanehara Hitomi, who represents the literature of female authors in contemporary Japan. In conclusion I discuss the aesthetic function of literature of explicit depictions and its position in the field of art. By comparing and contrasting the various novels I reach my own characteristic of contemporary Japanese literature of explicit depictions.

The distinguishing traits of characters in novels may appear to change in translation. One of the main means of conveying the individualities, personalities and moral qualities of characters is through dialogue, using the possibilities opened by, for example, the selection of register and use of gendered language. In order to gain insight on how apparent changes to characteristics can arise, this case study investigates whether, why and how the character Midori in Murakami Haruki's Norwegian Wood appears to change in translation, based on her dialogue. The study demonstrates how linguistic differences between the source and target languages and the adoption of an overall approach to translation, such as a foreignising or domesticating strategy, are major factors in determining the nature and magnitude of any observed change. Two of the most influential speech elements identified and studied are gendered language and casual language. Both terms represent similar but not identical concepts in the source and target languages and are manifested differently in the two languages, giving rise to wide-ranging translation problems. The study further suggests that a domestication approach, as well as modifying the fluency and cultural flavour of the text in general, can affect the characterisation of novels both indirectly and directly. The influence of a domesticating approach to translation focusing on its application specifically to dialogue or influence on characterisation may be a fruitful area for further research.

Este estudo pretende investigar a pluralidade observada no trabalho do artista contemporâneo japonês Takashi Murakami (1962-), discutindo como a sua atuação em diversas áreas está diretamente ligada ao seu desenvolvimento artístico e fazer poético. No primeiro capítulo, construiremos um panorama sobre o mercado de arte, apresentando alguns dos principais agentes e eventos que o constituem e o movimentam. A compreensão deste cenário possibilita adentrarmos com mais clareza sobre as variadas ações de Murakami durante o segundo capítulo. Tomando o conceito de artista-etc do artista e crítico brasileiro Ricardo Basbaum (1961-) como ponto de partida, começaremos a perceber que parcerias em moda e design, assim como trabalho de galerista, colecionador e empreendedor, são papéis que Murakami desempenha em busca de respostas ligadas à sua indagação sobre a arte. A complexidade do artista também é vista no seu desenvolvimento estético, que constitui o terceiro capítulo deste texto. Por meio do mapeamento de suas obras realizadas e artistas que o instigaram desde a sua formação na faculdade, encontraremos um repertório diverso, iniciado com a prática de nihonga. A insatisfação com essa linguagem levou Murakami por uma série de experimentações, antes de desenvolver o super flat conceito pelo qual ele é reconhecido no âmbito mundial. A projeção internacional conquistada proporcionou ao artista seguir expandindo a sua pesquisa, por meio da sua parceria com o professor e historiador de arte Nobuo Tsuji (1932-) na qual trabalha o resgate de alguns nomes da arte japonesa ainda pouco estudados fora (e até mesmo dentro) do Japão. Espera-se que, a partir da leitura sobre Murakami apresentada neste trabalho, possa-se contribuir para as discussões sobre arte contemporânea e japonesa. / This study aims to investigate the plurality observed in the work of contemporary Japanese artist Takashi Murakami (1962-), discussing how his work in various areas is directly linked to his artistic and to make poetic development. In the first chapter, we will construct a panorama on the art market, presenting some of the main agents and events that constitute and move it. Understanding this scenario makes it possible to delve more clearly into Murakami\'s various actions during the second chapter. Taking the \"artista-etc\" [artist-etc] concept of the Brazilian artist and critic Ricardo Basbaum (1961-) as a starting point, we will begin to realize that partnerships in fashion and design, as well as the work of gallerist, collector and entrepreneur, are roles that Murakami plays in search of answers linked to his inquiry about art. The complexity of the artist is also seen in his aesthetic development, which is the third chapter of this text. Through the mapping of his accomplished works and artists who have instigated him since his formation in college, we will find a diverse repertoire, started with the practice of nihonga. The dissatisfaction with this language led Murakami through a series of experiments, before developing the super flat concept by which he is recognized worldwide. The international projection gained allowed the artist to continue to expand his research, through his partnership with Professor and Art Historian Nobuo Tsuji (1932-) in which he works to rescue some Japanese names of Japanese art that have yet been little-studied outside (and even within) Japan. It is hoped that, from the reading about Murakami presented in this work, one can contribute to the discussions on contemporary and Japanese art.

Submitted by Edineia Teixeira (edineia.teixeira@unioeste.br) on 2018-04-11T18:24:13Z No. of bitstreams: 2 Kamyla_Kawashita 2017.pdf: 1314271 bytes, checksum: 18591742c0f5978ac311d9954b35bc56 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-11T18:24:13Z (GMT). No. of bitstreams: 2 Kamyla_Kawashita 2017.pdf: 1314271 bytes, checksum: 18591742c0f5978ac311d9954b35bc56 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-12-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The aim of this study is to investigate cultural markers (MCs) in Umibe no Kafuka (2002), by the Japanese writer Haruki Murakami, and to analyze their respective translation in Kafka à beira-mar (2008) by Leiko Gotoda, and Kafka on the Shore (2005), by James Philip Gabriel, referred in this study as TO, TTp and TTi, respectively. We intended to study the choices made by the translators of the target texts when faced with cultural differences in order to observe similarities and differences in both texts. To accomplish so, we investigated translation modalities and features of explicitation, simplification and normalization found in the translation of the MCs. The theoretical and methodological approach consist in Camargo’s interdisciplinary proposal (2004, 2007), which is grounded on Corpus-Based Translation Studies (Baker, 1993, 1995, 1996, 2000), on Baker’s study on translation features (1996), and on Corpus Linguistics (Berber Sardinha, 2004). It also adopts the use of electronic tools provided by the computer software WordSmith Tools for investigating the corpus and analyzing the data. For the study of the MCs, we selected the works on cultural domains (Nida, 1945) and its reformulation (Aubert, 1981, 2006), and the study on translation modalities (Aubert, 1984, 1998). The results show significant keyness for the MCs jinja/shrine (185,20), futon (112,79), udon (82,56) and pachinko (54,00) in TTi, and jinja/santuário (172,49) and ikiyou (70,80) in TTp. Adaptation and Calque are the most representative translation modalities found in the translation of the MCs. We also identified greater features of explicitation in TTp, and simplification and normalization in TTi. / O objetivo do presente trabalho é investigar marcadores culturais (MCs) encontrados na obra Umibe no Kafuka (2002), do escritor japonês Haruki Murakami, e analisar as respectivas traduções em Kafka à beira-mar (2008), por Leiko Gotoda, e em Kafka on the Shore (2005), por James Philip Gabriel, representadas ao longo do trabalho pelas siglas TO, TTp, e TTi, respectivamente. Foram examinadas as escolhas dos tradutores nos respectivos textos ao lidarem com as diferenças culturais, no intento de verificar aproximações e distanciamentos nas obras. Para tanto, foram observadas as modalidades tradutórias e examinados traços de simplificação, explicitação e normalização presentes nas traduções de trechos circundantes aos MCs. Para a realização do trabalho, recorremos à abordagem interdisciplinar adotada por Camargo (2004; 2007), a qual se apoia na proposta dos Estudos da Tradução Baseados em Corpus (BAKER 1993; 1995; 1996; 2000), nos estudos de Baker (1996) sobre as tendências de tradução, nas categorias de análise de normalização com base em Scott (1998) e na Linguística de Corpus (BERBER SARDINHA, 2004); e propõe também o uso de ferramentas eletrônicas disponibilizadas pelo programa computacional WordSmith Tools, para a investigação do corpus e levantamento dos dados. Para a investigação dos MCs recorremos aos trabalhos sobre domínios culturais de Nida (1945), à sua reformulação proposta por Aubert (1981; 2006) e aos estudos sobre as modalidades tradutórias de Aubert (1984; 1998). Os resultados apresentam índice de chavicidade significante para os MCs jinja/shrine (185,20), futon (112,79), udon (82,56) e pachinko (54,00) no TTi, e jinja/santuário (172,49) e ikiyou (70,80) no TTp. Destacaram-se, entre as modalidades tradutórias para tradução dos MCs, a adaptação e o decalque. Observou-se, também, maior tendência à explicitação no TTp, e à simplificação e à normalização no TTi.

Les trois oeuvres de notre corpus déclinent les données d'un vivre-ensemble tissé de solitude, d’une existence qui est coexistence. La solitude affecte des personnages qui constituent les témoins de l'humaine condition. L’oubli qui les hante est également solitude. Dès lors, la mémoire constitue l’antidote communautaire à une amnésie menaçante, et l’intertexte permet d’unir les solitudes par la matérialisation d'une communauté humaine aux prises avec l’altérité du réel. Cette communauté s'exprime de manière privilégiée dans ces trois récits qui donnent libre cours aux tensions et contradictions d'un réel toujours étranger à l'homme. Murakami, Auster et Quignard reflètent cette solitude communautaire dans des récits ouverts au dèmos qui accueillent cette altérité à laquelle le sacré et les mythes donnent voix. Chez les trois auteurs, c’est le problème de l'absolument autre et de sa traduction mythique qui permet de comprendre ce qui unit les hommes, mais aussi ce qui en eux – et dans le réel –, résiste à la socialité. Ce problème est donc éminemment communautaire. Présente dans les trois ouvrages, la musique, expression du génie humain, est également solitude. Elle traduit dans les oeuvres une présence/absence du souvenir, donne voix à l’indicible, renvoie à une moralité infinie, ou reste liée à l’animalité. Quant à la présence de l’auteur ou du narrateur dans les textes, le lecteur est confronté à trois manières différentes de donner voix à la communauté humaine, que ce soit par le deuil du lyrisme auctorial, en dotant au contraire sa voix d'une forte expressivité, ou à travers une voix narrative qui gagne en puissance au fil de l'ouvrage, illustrant ainsi l'engagement graduel du personnage dans le texte. La dimension historique, mémorielle et politique des communautés représentées, l’effort vers l’être-pour, qui constitue à la fois une théorisation du partage du sensible et une forme non militante de l’engagement personnel et collectif, sont également analysés dans ces trois oeuvres, qui mettent en évidence l’impossibilité d’une solitude non peuplée. / The three novels under scrutiny confront the very fact of existence as coexistence; they express solitude, considered as an unquestionable fact of life. Solitude affects characters who represent all mankind. The oblivion which haunts the protagonists is also an expression of solitude. Memory then becomes the common antidote to an impending amnesia, and intertextuality provides a way to bring solitudes together in a human community confronted to the strangeness of reality. Giving a voice to human community is the aim of these three contemporary novels, which express the tensions and contradictions of a reality filled with an undeniable otherness. Murakami, Auster and Quignard reflect on this common solitude in narratives that are open to that very strangeness, which is conveyed by mythology and the presence of sacred people or objects in the novels. For the three writers, it is the question of otherness and its mythical transcription that allows to understand what brings men together, and the things which, within people and reality, resist to socializing. Therefore, otherness must be considered as an eminently communal element in the novels. Music, an expression of human genius, is also a product of solitude. It expresses the presence/absence of things past, the unspeakable, refers to the infinity of morality, or else remains linked with animality. The reader is confronted to three different ways of expressing human community in the narratives, whether by accepting to give up one's lyricism, or on the contrary by using a very expressive style, or else by allowing the narrative voice to gather momentum throughout the text, to match the gradual social commitment of the protagonist. Therefore music, memory, the historical and political dimension of the depicted communities, the efforts of the characters towards involvement, a non-militant form of commitment, emphasize the fact that solitude, in these novels, is essentially communal.

Ce travail s'inscrit dans une démarche d'intégration produit-procédé en vue d'optimiser les propriétés en fatigue illimitée des pièces de forge. Dans le domaine de la fatigue, afin de tirer bénéfice du procédé de forgeage il est indispensable de tenir compte, d'une part, des contraintes résiduelles issues de la mise en forme, mais également du comportement anisotrope des pièces, fonction de la direction des sollicitations vis-à-vis du fibrage de la pièce. Nous distinguons les matériaux dits sains et les matériaux à défaut, pour lesquels le comportement en fatigue est tributaire des inclusions. Pour ces derniers, dans le cas d'inclusions malléables, l'allongement des inclusions suivant la direction du fibrage constitue l'origine principale de l'anisotropie observée. Un critère dérivé de l'équation de Murakami est alors proposé. Une partie de l'anisotropie provient néanmoins de la microstructure, et cet aspect est également étudiée. Parallèlement, nous nous attachons à décrire de quelle manière le fibrage peut être modélisé dans le logiciel de simulation numérique de mise en forme Forge3®, pour être ensuite utilisé dans le calcul du critère de fatigue proposé. Une stratégie d'optimisation complète incluant calculs de forgeage et de fatigue est finalement illustrée sur une pièce réelle.

Doctor of Philosophy / This thesis presents a study of the cyclotomic BMW algebras, introduced by Haring-Oldenburg as a generalization of the BMW (Birman-Murakami-Wenzl) algebras related to the cyclotomic Hecke algebras of type G(k,1,n) (also known as Ariki-Koike algebras) and type B knot theory involving affine/cylindrical tangles. The motivation behind the definition of the BMW algebras may be traced back to an important problem in knot theory; namely, that of classifying knots (and links) up to isotopy. The algebraic definition of the BMW algebras uses generators and relations originally inspired by the Kauffman link invariant. They are intimately connected with the Artin braid group of type A, Iwahori-Hecke algebras of type A, and with many diagram algebras, such as the Brauer and Temperley-Lieb algebras. Geometrically, the BMW algebra is isomorphic to the Kauffman Tangle algebra. The representations and the cellularity of the BMW algebra have now been extensively studied in the literature. These algebras also feature in the theory of quantum groups, statistical mechanics, and topological quantum field theory. In view of these relationships between the BMW algebras and several objects of "type A", several authors have since naturally generalized the BMW algberas for other types of Artin groups. Motivated by knot theory associated with the Artin braid group of type B, Haring-Oldenburg introduced the cyclotomic BMW algebras B_n^k as a generalization of the BMW algebras such that the Ariki-Koike algebra h_{n,k} is a quotient of B_n^k, in the same way the Iwahori-Hecke algebra of type A is a quotient of the BMW algebra. In this thesis, we investigate the structure of these algebras and show they have a topological realization as a certain cylindrical analogue of the Kauffman Tangle algebra. In particular, they are shown to be R-free of rank k^n (2n-1)!! and bases that may be explicitly described both algebraically and diagrammatically in terms of cylindrical tangles are obtained. Unlike the BMW and Ariki-Koike algebras, one must impose extra so-called "admissibility conditions" on the parameters of the ground ring in order for these results to hold. This is due to potential torsion caused by the polynomial relation of order k imposed on one of the generators of B_n^k. It turns out that the representation theory of B_2^k is crucial in determining these conditions precisely. The representation theory of B_2^k is analysed in detail in a joint preprint with Wilcox in [45] (http://arxiv.org/abs/math/0611518). The admissibility conditions and a universal ground ring with admissible parameters are given explicitly in Chapter 3. The admissibility conditions are also closely related to the existence of a non-degenerate Markov trace function of B_n^k which is then used together with the cyclotomic Brauer algebras in the linear independency arguments contained in Chapter 4. Furthermore, in Chapter 5, we prove the cyclotomic BMW algebras are cellular, in the sense of Graham and Lehrer. The proof uses the cellularity of the Ariki-Koike algebras (Graham-Lehrer [16] and Dipper-James-Mathas [8]) and an appropriate "lifting" of a cellular basis of the Ariki-Koike algebras into B_n^k, which is compatible with a certain anti-involution of B_n^k. When k = 1, the results in this thesis specialize to those previously established for the BMW algebras by Morton-Wasserman [30], Enyang [9], and Xi [47]. REMARKS: During the writing of this thesis, Goodman and Hauschild-Mosley also attempt similar arguments to establish the freeness and diagram algebra results mentioned above. However, they withdrew their preprints ([14] and [15]), due to issues with their generic ground ring crucial to their linear independence arguments. A similar strategy to that proposed in [14], together with different trace maps and the study of rings with admissible parameters in Chapter 3, is used in establishing linear independency of our basis in Chapter 4. Since the submission of this thesis, new versions of these preprints have been released in which Goodman and Hauschild-Mosley use alternative topological and Jones basic construction theory type arguments to establish freeness of B_n^k and an isomorphism with the cyclotomic Kauffman Tangle algebra. However, they require their ground rings to be an integral domain with parameters satisfying the (slightly stronger) admissibility conditions introduced by Wilcox and the author in [45]. Also, under these conditions, Goodman has obtained cellularity results. Rui and Xu have also obtained freeness and cellularity results when k is odd, and later Rui and Si for general k, under the assumption that \delta is invertible and using another stronger condition called "u-admissibility". The methods and arguments employed are strongly influenced by those used by Ariki, Mathas and Rui [3] for the cyclotomic Nazarov-Wenzl algebras and involve the construction of seminormal representations; their preprints have recently been released on the arXiv. It should also be noted there are slight differences between the definitions of cyclotomic BMW algebras and ground rings used, as explained partly above. Furthermore, Goodman and Rui-Si-Xu use a weaker definition of cellularity, to bypass a problem discovered in their original proofs relating to the anti-involution axiom of the original Graham-Lehrer definition. This Ph.D. thesis, completed at the University of Sydney, was submitted September 2007 and passed December 2007.

This thesis maps Takashi Murakami's Theory of Superflat Art and his associated artistic practices and works. The study situates Murakami and Superflat within the context of globalising culture. The thesis interrogates Murakami's art and the theory of superflat within the historical, social, and cultural contexts of their production-consumption in Japan, the United States, and Europe. The thesis identifies Superflat art and Murakami's work as actively participating in, and expressing, the cultural conditions associated with the 'global postmodern' and globalisation processes. The thesis employs a Cultural Studies theoretical and heuristic framework, utilising a range of contemporary critical theorisations on postmodern art, Japanese cultural identity and globalisation. This framework and approach are adopted in order to draw attention to ways in which Murakami and Superflat articulate and represent the fundamental contentions and dialogues that characterise contem porary globalisation processes. The tensions that are articulated in relation to the discursive construction of the concepts of art/commodity, modern/postmodern and global/local cultural identities. Importantly, this research demonstrates the ways in which Murakami both participates in, and challenges, the conceptual distinctions indexed within the concepts of 'art' as an aesthetic expression and 'commodity' as an object of symbolic exchange in the global marketplace. It interprets Superflat as an 'expressivity' that challenges binary demarcations being constructed between art and commercial culture, and between the aesthetic-cultural identities of Japan and the West. This thesis problematises the meaning of Murakami's concept and aesthetic of Superflat art by drawing attention to these contestations within Murakami's works and Superflat which are generated as they circulate globally. The thesis argues that Murakami strategically presents his work and Superflat art as an expression of Japanese identity which paradoxically also expresses the fluid imaginings of cultural identity available through contemporary global exchanges. This deliberate territorialising and deterritorialising impulse does not resolve the contentions emerging in globalisation, but rather amplifies them, exposing the key debates on the formation of cultural identity as an oppositional expression and as a commodity in global markets. The concept of 'strategic essentialism' is used as a theoretical lens in order to understand Murakami and Superflat's activation of these global processes. This research contributes a valuable case study to the understanding of cultural production as a strategic negotiation and expression of the flows of capital and culture in globalisation.

Thesis (M.A.)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (leaves 185-200). Also available via the World Wide Web.

Ce texte accompagne la création Fūkei [paysages], poésie sonore et scénographique adaptant le style littéraire du romancier japonais Haruki Murakami. La recherche porte un regard sur les structures narratives employées par l'auteur dans ses romans et s'intéresse à leur fonction dans le discours de l'œuvre et sa réception. À cet effet, une méthodologie est élaborée en deux phases. Premièrement, les structures narratives sont extraites par l'analyse de textes choisis de l'auteur. Deuxièmement, ces structures sont redéployées au sein du processus compositionnel de l'œuvre. Ce procédé d'adaptation comporte donc la particularité de transposer des structures et procédés littéraires dans une autre forme d'expression artistique. Par ailleurs, il se distingue par l'adaptation du style d'une œuvre littéraire plutôt que d'en adapter le texte. Fūkei [paysages] allie ces différents éléments dans une œuvre multidisciplinaire théâtrale, sans acteurs. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : art, adaptation, allégorie, nouveau réalisme, réalisme magique, métafiction, fragment, collage, esthétique, poétique, poïétique, son, sonore, scène, théâtre.