published_or_final_version / abstract / Humanities / Master / Master of Philosophy

As pesquisas sobre o professor de língua estrangeira, especialmente nas questões de identidade, têm crescido nos últimos anos, seja no âmbito de ensino-aprendizagem do idioma ou na esfera das formações de professores. Contudo, no ensino de língua japonesa como língua estrangeira, não há um estudo específico nessa área, apenas dados de cunho estatístico. Por essa razão, este projeto visa estabelecer uma leitura sobre a identidade do docente de língua japonesa envolvendo professores nativos brasileiros, descendentes e não-descendentes, que ministram aulas nos centros de línguas do Estado de São Paulo, onde se ensina o japonês como língua estrangeira. Para entender a construção da identidade do professor foi necessário realizar uma reflexão sobre o ensino da língua japonesa no Brasil e a forma pela qual foi introduzido o ensino de japonês como língua estrangeira, a fim de considerar questões históricas e sociais aí envolvidas. Também se utilizou o arcabouço teórico que tem sido aplicado nas pesquisas sobre identidade que tratam, nas concepções gerais, a identidade como instável, dinâmica, fluida e mutável. Para analisar o universo da docência em língua japonesa, fizemos um panorama histórico sobre o curso de língua japonesa dos centros de línguas e usamos como metodologia a pesquisa narrativa, pois consideramos que a progressão da história de vida de cada participante está intimamente ligada à sua forma de agir e criar representações de si, do aluno e da sala de aula em seu discurso. A partir das experiências vividas por esses docentes, fizemos o cruzamento de discursos, reunindo as recorrências em núcleo de significações e fizemos uma reflexão sobre o perfil desses professores bem como suas representações sobre a profissão, as impressões estabelecidas ao longo da carreira e suas expectativas para o futuro. Nos núcleos encontramos professores com a identidade profissional de grande pertencimento ao centro de línguas, multifacetada, contraditória e engajada. / Researches about the foreign language teacher, especially regarding identity, have grown in the latest years, whether in the teaching-learning of the language scope or in the area of teacher formation. However, in the teaching of the Japanese language as a foreign language, there is not a specific study in this field, only statistical data. For this reason, this project aims to establish a lection about the identity of the Japanese language teacher involving native Brazilian teachers, descendants and non-descendants that teach classes inside the language centers in the state of São Paulo, where the Japanese is taught as a foreign language. In order to understand the construction of the teachers identity, it was necessary to think deeply about the teaching of the Japanese language in Brazil and the way in which the teaching of the Japanese as a foreign language was introduced in order to consider historical and social issues involved. It has also been used the theoretical framework that has been applied to researches about identity that consider, in general conceptions, identity as unstable, dynamic, fluid and mutable. In furtherance of analyzing the universe of teaching in the Japanese language, a historical panorama was done about the Japanese language course of the language centers and the narrative research was used as methodology, because we considered that the progression of each one of the participants history of life is deeply connected to their way of acting and developing representations of themselves, the students and the classroom in their discourse. From the experience lived by these teachers, their speeches were crossed, bringing together the recurrences in meaning cores and made a reflection on the profile of these teachers as well as their representations about the profession, the impressions established throughout their career and their expectations for the future. In the meaning cores teachers with a professional identity of great belonging to the language center, multifaceted, contradictory and engaged were found.

A recepção da poesia japonesa em Portugal é um estudo sobre o diálogo literário entre os autores portugueses e a tradição lírica da Terra do Sol Nascente. Iniciado no século XVI, esse intercâmbio motivou extensa produção de cartas, diários, relatos de viagem e obras de caráter filológico até a expulsão dos missionários cristãos, ocorrida durante o Período Tokugawa (1603-1867), que interrompeu todas as atividades comerciais, culturais e mesmo diplomáticas entre o arquipélago japonês e Portugal. Com a Restauração Meiji, iniciada na segunda metade do século XIX, o diálogo é restabelecido, em um contexto internacional de crescente interesse europeu pela cultura japonesa, que pode ser avaliada pelas obras publicadas no período por autores como os franceses Edmond de Goncourt e Pierre Loti, o britânico Basil Chamberlain, o norte-americano Lafcadio Hearn e o português Wenceslau de Moraes, este último autor de numerosos livros, como Relance da alma japonesa, Daí Nippon e O culto do chá. Wenceslau de Moraes traça um amplo panorama da civilização japonesa, comentando desde a religião, a moral, a política, a vida cotidiana até as formas poéticas praticadas na literatura japonesa, realizando as primeiras traduções de haicais para o nosso idioma. A recepção criativa da poesia japonesa em Portugal, porém, acontecerá apenas na segunda metade do século XX, quando poetas como Herberto Helder, Casimiro de Brito, Ana Hatherly, E. M. de Melo e Castro, Eugênio de Andrade, Albano Martins e Yvette Centeno recebem a influência da caligrafia artística japonesa, dos enigmáticos koans (). e da extrema concisão e imagética do haicai, desenvolvendo a partir daí composições autônomas, relacionadas com as preocupações formais da época, e em especial com o movimento da Poesia Experimental Portuguesa (PO-EX). Nosso propósito é estudar como cada um desses autores recebeu e transformou o influxo da tradição literária japonesa, mesclada a seus projetos literários e mitologias pessoais / The reception of Japanese poetry in Portugal is a study of the literary dialogue between Portuguese authors and the lyrical tradition of the Land of the Rising Sun. Started in the sixteenth century, this exchange prompted extensive production of letters, diaries , travel accounts and works of philological character until the expulsion of Christian missionaries, which occurred during the Tokugawa Period (1603-1867), when all commercial, cultural and even diplomatic activities between the Japanese archipelago and Portugal ceased. With the Meiji Restoration, which started in the second half of the nineteenth century, the dialog was restored in an international context of increasing European interest in Japanese culture, which can be evaluated by through works published in the period by such authors as the Frenchmen Edmond de Goncourt and Pierre Loti, the Englishman Basil Chamberlain, the American Lafcadio Hearn and the Portuguese Wenceslas de Moraes. This last author published such booksas Glimpse of the Japanese soul and Nippon Hence the cult of tea. Wenceslas de Moraes paints a broad picture of Japanese civilization , from religion, morality, politics and everyday life to the poetic forms practiced in Japanese literature. He also did the first translations of haiku into our language. The creative reception of Japanese poetry in Portugal, however, take place only in the second half of the twentieth century, when poets like Herbert Helder , Casimiro de Brito , Ana Hatherly , EM de Melo e Castro, Eugenio de Andrade, Albano Martins and Yvette Centeno receive the influence of the Japanese Art of callygraphy, of the enigmatic koans and of the extreme concision and imagery of haiku. From these sources, poets developed autonomous compositions related to the formal concerns of the time, especially with the movement of Portuguese Experimental Poetry (PO-EX). Our purpose is to study how each of these authors has received and transformed the influx of Japanese literary tradition, blending it into his or her literary projects and personal mythologies.

by Chan Yee-tak, Douglas. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 89-96). / ABSTRACT --- p.iv / TABLE OF CONTENTS --- p.v / LIST OF FIGURES --- p.vii / LIST OF TABLES --- p.viii / ACKNOWLEDGMENTS --- p.ix / CHAPTERS / Chapter I. --- INTRODUCTION --- p.1 / Chapter 1.1 --- Introduction --- p.1 / Chapter 1.2 --- Purpose of the Study --- p.2 / Chapter 1.3 --- Objectives of the Study --- p.2 / Chapter II. --- METHODOLOGY --- p.4 / Chapter 2.1 --- Research Design --- p.4 / Chapter 2.2 --- Topic Definition and Assumption --- p.4 / Chapter 2.3 --- Data Collection --- p.5 / Chapter 2.4 --- Treatment of the Data --- p.6 / Chapter 2.5 --- Limitations and Obstacles --- p.6 / Chapter III. --- GENERAL BACKGROUND THEORIES OF FDI --- p.8 / Chapter IV. --- SINO-JAPANESE ENVIRONMENT AND TRADE PATTERN --- p.12 / Chapter 4.1 --- Japan's Economic Environment --- p.12 / Chapter 4.2 --- China's Economic Environment . . --- p.15 / Chapter 4.3 --- Sino-Japanese Trade Pattern --- p.17 / Chapter V. --- THE FDI ENVIRONMENT IN THE PRC --- p.26 / Chapter 5.1 --- Development of FDI in China --- p.26 / Chapter 5.2 --- Recent Policies for FDI in China --- p.31 / Chapter 5.3 --- Direct Investment Patterns in China --- p.33 / Chapter 5.4 --- Incentives for Foreign Investors --- p.40 / Chapter VI. --- JAPANESE GLOBAL INVESTMENT PATTERN --- p.42 / Chapter 6.1 --- Japanese FDI Pattern Worldwide --- p.42 / Chapter 6.2 --- Japanese FDI Pattern in China --- p.48 / Chapter 6.3 --- Canon in Dalian --- p.53 / Chapter 6.4 --- Yaohan in Beijing and Shanghai --- p.55 / Chapter 6.5 --- Trend of Japanese FDI in China --- p.58 / Chapter VII. --- JAPANESE INVESTMENT APPROACH IN THE PRC --- p.61 / Chapter 7.1 --- Japanese Approach --- p.61 / Chapter 7.2 --- Other Investors' Approaches --- p.62 / Chapter 7.3 --- Investment Incentives for Japanese Investors --- p.64 / Chapter VIII. --- PROBLEMS FACED BY JAPANESE INVESTORS IN THE PRC --- p.66 / Chapter 8.1 --- General Problems --- p.66 / Chapter 8.2 --- New Tax System in China --- p.70 / Chapter 8.3 --- Technology Transfer --- p.72 / Chapter 8.4 --- Corruption --- p.74 / Chapter IX. --- PROJECTION OF JAPANESE FDI IN THE PRC --- p.76 / Chapter 9.1 --- The Outlook of FDI in China --- p.76 / Chapter 9.2 --- Prospect of Japanese Companies in China --- p.79 / Chapter X. --- CONCLUSIONS --- p.81 / APPENDICE / Chapter 1. --- PRIORITY INVESTMENT AREAS IN CHINA --- p.84 / Chapter 2. --- CHINA'S TOP TEN FFEs (MANUFACTURING) IN 1992 --- p.85 / Chapter 3. --- RULES FOR SETTING UP A JOINT VENTURE IN CHINA --- p.87 / Chapter 4. --- CHINA'S NEW TAXES --- p.88 / BIBLIOGRAPHY --- p.89

by Lee Wing Choi, Ernest, So Man Kai, Waynie. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1992. / Includes bibliographical references. / ACKNOWLEDGEMENT --- p.ii / ABSTRACT --- p.iii / TABLE OF CONTENTS --- p.iv / LIST OF TABLES --- p.vii / Chapter / Chapter I. --- INTRODUCTION --- p.1 / Objectives Of This Study --- p.2 / Foreign Investment In Hong Kong --- p.2 / Japan's Economic Ties With Hong Kong --- p.4 / Chapter II. --- METHODOLOGY AND APPROACH OF STUDY --- p.7 / Approaches Of This Study --- p.7 / Research Problems Definition --- p.7 / Data Collection Methods --- p.8 / Data Analysis And Interpretation --- p.8 / Limitations And Obstacles --- p.9 / Chapter III. --- INVESTMENT CLIMATE IN HONG KONG --- p.11 / Transition From Uncertainty To Stability --- p.12 / Impacts Of China's Political And Economic Policies --- p.13 / Hong Kong Government's Attitude Towards Foreign Investment --- p.14 / Chapter IV. --- JAPAN'S ECONOMIC GLOBALIZATION AND DIRECT INVESTMENT --- p.16 / Japan's Globalization Economic Policy --- p.16 / Increasing Trade Volume --- p.18 / Growth Of Overseas Direct Investment --- p.22 / Diversifications In Investment --- p.26 / Chapter V. --- JAPANESE INVESTMENT IN HONG KONG --- p.30 / Japan - Largest Investor In Manufacturing --- p.30 / Prospects Of Hong Kong's Manufacturing Industry --- p.34 / Rising Importance Of Non-Manufacturing Industry --- p.37 / Chapter VI. --- JAPAN'S INVESTMENT IN HK'S REAL ESTATE & CONSTRUCTION INDUSTRIES --- p.41 / Focus On Commercial Buildings --- p.41 / Rationales For The Japanese Investment In Real Estate --- p.44 / Commitment From The Japanese Construction Companies … --- p.47 / Directions For Future Japanese Investment --- p.50 / Chapter VII. --- JAPAN'S INTERESTS IN Hong Kong's FINANCIAL MARKETS --- p.51 / Nature Of Hong Kong's Financial Industry --- p.51 / Role Of Japanese Banks In Hong Kong --- p.52 / Vitality Of Japanese Financial Investment --- p.56 / Chapter VIII. --- PENETRATION OF JAPANESE DEPARTMENT STORE --- p.61 / Retail/Department Store Industry In Hong Kong --- p.61 / The Success Of Japanese Retailers --- p.62 / Investment Decisions And Strategies --- p.64 / High Growth Potential And Direction For The Future --- p.70 / Chapter IX. --- CONCLUSION --- p.75 / BIBLIOGRAPHY --- p.80

Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Linguistics and Philosophy, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND HUMANITIES. / Vita. / Bibliography: leaves 218-223. / by Ann Kathleen Farmer. / Ph.D.

A recepção da poesia japonesa em Portugal é um estudo sobre o diálogo literário entre os autores portugueses e a tradição lírica da Terra do Sol Nascente. Iniciado no século XVI, esse intercâmbio motivou extensa produção de cartas, diários, relatos de viagem e obras de caráter filológico até a expulsão dos missionários cristãos, ocorrida durante o Período Tokugawa (1603-1867), que interrompeu todas as atividades comerciais, culturais e mesmo diplomáticas entre o arquipélago japonês e Portugal. Com a Restauração Meiji, iniciada na segunda metade do século XIX, o diálogo é restabelecido, em um contexto internacional de crescente interesse europeu pela cultura japonesa, que pode ser avaliada pelas obras publicadas no período por autores como os franceses Edmond de Goncourt e Pierre Loti, o britânico Basil Chamberlain, o norte-americano Lafcadio Hearn e o português Wenceslau de Moraes, este último autor de numerosos livros, como Relance da alma japonesa, Daí Nippon e O culto do chá. Wenceslau de Moraes traça um amplo panorama da civilização japonesa, comentando desde a religião, a moral, a política, a vida cotidiana até as formas poéticas praticadas na literatura japonesa, realizando as primeiras traduções de haicais para o nosso idioma. A recepção criativa da poesia japonesa em Portugal, porém, acontecerá apenas na segunda metade do século XX, quando poetas como Herberto Helder, Casimiro de Brito, Ana Hatherly, E. M. de Melo e Castro, Eugênio de Andrade, Albano Martins e Yvette Centeno recebem a influência da caligrafia artística japonesa, dos enigmáticos koans (). e da extrema concisão e imagética do haicai, desenvolvendo a partir daí composições autônomas, relacionadas com as preocupações formais da época, e em especial com o movimento da Poesia Experimental Portuguesa (PO-EX). Nosso propósito é estudar como cada um desses autores recebeu e transformou o influxo da tradição literária japonesa, mesclada a seus projetos literários e mitologias pessoais / The reception of Japanese poetry in Portugal is a study of the literary dialogue between Portuguese authors and the lyrical tradition of the Land of the Rising Sun. Started in the sixteenth century, this exchange prompted extensive production of letters, diaries , travel accounts and works of philological character until the expulsion of Christian missionaries, which occurred during the Tokugawa Period (1603-1867), when all commercial, cultural and even diplomatic activities between the Japanese archipelago and Portugal ceased. With the Meiji Restoration, which started in the second half of the nineteenth century, the dialog was restored in an international context of increasing European interest in Japanese culture, which can be evaluated by through works published in the period by such authors as the Frenchmen Edmond de Goncourt and Pierre Loti, the Englishman Basil Chamberlain, the American Lafcadio Hearn and the Portuguese Wenceslas de Moraes. This last author published such booksas Glimpse of the Japanese soul and Nippon Hence the cult of tea. Wenceslas de Moraes paints a broad picture of Japanese civilization , from religion, morality, politics and everyday life to the poetic forms practiced in Japanese literature. He also did the first translations of haiku into our language. The creative reception of Japanese poetry in Portugal, however, take place only in the second half of the twentieth century, when poets like Herbert Helder , Casimiro de Brito , Ana Hatherly , EM de Melo e Castro, Eugenio de Andrade, Albano Martins and Yvette Centeno receive the influence of the Japanese Art of callygraphy, of the enigmatic koans and of the extreme concision and imagery of haiku. From these sources, poets developed autonomous compositions related to the formal concerns of the time, especially with the movement of Portuguese Experimental Poetry (PO-EX). Our purpose is to study how each of these authors has received and transformed the influx of Japanese literary tradition, blending it into his or her literary projects and personal mythologies.

Gagaku, ancient Japanese court music and dance, known today as a traditional performing art, has over a thousand years of history since its introduction from the East Asian mainland. Despite the fact that the study of Japanese musicology, history and classical literature has attracted scholarly attention for many years, much fundamental research in the historical records and documents still remains to be done. In fact, the most important primary source used in this study, the Kyōkunshō, composed in 1233 by Koma no Chikazane (1177–1242) is known as the oldest Japanese synthetic treatise on music and one of the three major treatises that relate to Japanese court music. Although the Kyōkunshō is such a valuable resource, detailed research has commenced recently, but it has produced noteworthy achievements in the field of Japanese traditional music and its history. Nevertheless, the study of gagaku in the Insei period (from the late eleventh to the late twelfth century CE) has not yet fully succeeded in clarifying the nature of Japanese medieval music, and the lack of analysis of its role in the body politic needs to be addressed. Against this background, this study aims at answering the relations between gagaku and politics from the late Heian to the early Kamakura era. Building on existing studies, this thesis adopts a quantitative method of textual analysis combined with a close reading of the Kyōkunshō and pertinent texts. The methods used for this research entail abstracting data pertaining to historical performances that are described in the Kyōkunshō and analysing this corpus both quantitatively and in the context of contemporary textual and other sources. This reading of the Kyōkunshō reveals that gagaku had an important ritual function as shōgon 荘厳 (“adornment, embellishment, spectacle”) of the nation; that is, throughout the period in question performances of music and dance in gagaku are an integral part of the body politic, both its political activity and its understanding of itself as a metaphysical entity. The study further indicates that the significance of gagaku developed from the political sphere to the social and popular spheres. Study of the pertinent textual corpus has shown that Kyōkunshō was composed during a transitional period when two further understandings of gagaku developed. Firstly, a concept known a posteriori as ‘ongaku ōjōshisō 音楽往生思想, the concept of attaining heaven by playing music’ (Minamitani, 2001). Here, gagaku functioned as a medium for bonding the person who has mastered the music, to the Buddhist Pure Land (jōdo, understood as a kind of paradise); popular belief in the power of music played an important role. Secondly, there evolved the (similarly a posteriori) concept of ‘geidōshisō 芸道思想, the philosophy of the way of performance’ (Ogi, 1977). In this understanding, music was regarded as independent of any political or religious influence and mastered for its own sake. Certainly, a critical reading of key episodes in the Kyōkunshō furnishes evidence that it had been performed as musical amusement since the middle of the Heian period at the latest. Thus the thesis demonstrates that gagaku retained a strong connection to politics during the period in question but surely fulfilled other functions outside the political framework, and that these non-political functions also had their roots prior to the medieval period. The thesis’s critical apparatus includes a transcription of the whole text, rendering the mainly classical Chinese (kanbun) original into modern Japanese readings (kakikudashibun 書き下 し文), an exercise which requires crucial interpretations of Chinese syntax. An English translation of the first scroll of the Kyōkunshō is also provided.

This descriptive study focuses on expressions of politeness in the Japanese language and their relevance to social structure and intercultural communication. The study is designed to help students of the Japanese language learn rules of politeness which fall outside the domain of grammatical rules.

No description available.