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This report examines how twentieth-century Japanese “artists” – Kafū Nagai, Ryūnosuke Akutagawa, and Kurosawa Akira – applied characters and/or principles of nineteenth-century artists active in France to their works. Specifically, I study the influences of Emile Zola, Paul Cézanne, and Vincent van Gogh. The first chapter examines the way that Kafū adopted Zola’s Nana (1880) in his own novel, Rivalry (1918), arguing that Nana provided Kafū with a vocabulary to express anxieties about Japan’s future. Comparing social conditions in late nineteenth-century France to those in early twentieth-century Japan, the chapter explains how Kafū feared that the debauched world in Nana would be Japan’s new destination. My second chapter moves away from Kafū and Zola, examining, instead, how Akutagawa applies Cézanne’s notions of subjectivity in his Japanese short story, “In a Grove” (1922). Specifically, I argue that Akutagawa and Cézanne both conceive reality as dependent of, and inevitably attached to, subjective truth. My third and final chapter, shifting to a focus on film, examines the way that Kurosawa uses van Gogh’s character to express frustrations about society’s neglect of nature, as well as about his own creative passions as an artist. Through the different mediums discussed in the report – novel, short story, painting, and film – I show that nineteenth-century French influence in twentieth-century Japan was not small in scope, concluding that the great influences merit further study, particularly since Franco-Japanese influences continue visibly today. / text

D.E.A.--Arts plastiques--Paris 8, 1988. / Bibliogr. P. 469.

Th.--Lett.--Paris 7, 1988.

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L'épanouissement économique des manufactures de céramiques françaises tout au long du XIXe siècle et au début du XXe siècle est propice à la revalorisation des valeurs industrielles au sein des arts décoratifs. Les industriels s’appliquent à fournir des produits de qualité à moindre coût, à toutes les classes, grâce aux améliorations techniques et à l'abaissement des coûts des techniques décoratives. À partir des années 1860, les productions japonisantes participant à ce phénomène se diffusent dans les intérieurs bourgeois et entrent dans un cadre plus général : celui des productions céramiques reproduites à grande échelle, mises en œuvre par des fabriques à Paris et en province tout au long de la période concernée, y compris durant l'entre deux-guerres. En privilégiant dans un même mouvement collectif tel style, telle forme et tel décor, les différents milieux fournissaient aux fabricants et aux créateurs de modèles une direction à suivre dans la production du japonisme en céramique. Les artistes industriels ont dès lors cherché à surmonter la fracture entre art d'élite et goût populaire. Ces nouveaux objets peu coûteux devaient correspondre à des critères esthétiques et pratiques très hétérogènes. La stratégie commerciale des manufactures de céramiques et des centres de distribution a de fait été façonnée en conséquence. Le bibelot en céramique, facilement manipulable, illustre par ailleurs les représentations d’un pays imaginé et appréhendé de manière collective grâce aux expositions, au cinéma, au théâtre et à la littérature. Ces images contribuent à l’émergence d’une culture populaire urbaine dont le caractère commercial est assumé ; en ce sens, cette céramique fait partie de l’univers du « kitsch » en tant que communication de masse utilisée par la classe moyenne. / The economic growth of manufacturing earthenware and porcelain in the province triggered a flourishing industrial standard in the decorative arts. The Beautiful and Industry are the two new values inseparable, celebrated by the production of French ceramics until the end of the first half of the twentieth century. Manufacturers want to provide quality products at lower costs to all classes. Improvements in ceramic materials and technical casting, as well as lowering the cost of decorative techniques, have encouraged the opening up the hierarchy of decorative arts. These new technical processes took part in the improvement of living conditions of the bourgeoisie and smaller classes. Japanese style productions were large-scale diffused in bourgeois interiors since 1860’s. These works fall into a broader context: the large-scale pottery production, implemented by factories in Paris and the provinces throughout the period, including during the interwar period. Industrialization brings to market products that must seek the attention of all classes. These inexpensive items had to correspond to aesthetic and practical heterogeneous criterion. By focusing on the same style as collective motion, such as shape and decoration, the different environments provided producers a direction to follow in models making. Business strategy of manufacturing has been designed accordingly. The ceramics “curio”, easy to handle, illustrates the representations of an imagined and apprehended country in a collective way thanks to exhibitions, movies, plays and literature. These representations contribute to the emergence of an urban popular culture whose commercial character is clearly assumed. This ceramics is part of the universe of “kitsch” as mass communications used by the middle class.

abstract: After the opening of Japan in the mid-1800s many foreigners flocked to the nation. San Franciscan Helen Hyde (1868-1919) joined the throng in 1899. Unlike many of her predecessors, however, she went as a single woman and was so taken with Japan she made it her home over the span of fourteen years. While a number of cursory studies have been written on Helen Hyde and her work, a wide range of questions have been left unanswered. Issues regarding her specific training, her printmaking techniques and the marketing of her art have been touched on, but never delved into. This dissertation will explore those issues. Helen Hyde's success as a printmaker stemmed from her intense artistic training, experimental techniques, artistic and social connections and diligence in self-promotion and marketing as well as a Western audience hungry for "Old Japan," and its imagined quaintness. Hyde's choice to live and work in Japan gave her access to models and firsthand subject matter which helped her audience feel like they were getting a slice of Japan, translated for them by a Western artist. This dissertation provides an in depth bibliography including hundreds of primary newspaper articles about Hyde who was lauded for her unique style. It also expands and corrects the listing of her printed works and examines the working style of an American working in a Japanese system with Japanese subjects for a primarily American audience. It also provides a listing of known exhibitions of Hyde's works and a listing of stamps and markings she used on her prints. / Dissertation/Thesis / Doctoral Dissertation Art History 2016

L'étude du japonisme n'a pas tiré profit des réflexions postcoloniales autant que les autres orientalismes. En France surtout, il n'existe pas de consensus sur l'identification du japonisme comme orientalisme. Il est important de replacer le japonisme et le Japon dans son contexte oriental, car c'était important dans l'imaginaire des Occidentaux au 19ième siècle. Les biais de l'époque n'ont pas toujours été corrigés aujourd'hui, résultant en une perspective déformée du Japon. Le japonisme est à la fois la mode du Japon qui s'est emparé de la France dans la seconde moitié du 19ième siècle, mais aussi plus largement le « goût du Japon » et la « connaissance produite sur le Japon ». Notre hypothèse est que le japonisme est un orientalisme au sens entendu par Edward W. Saïd. La domination et l'impérialisme occidental s'expriment dans les discours du Japonisme, et ces discours ont affecté le développement du Japon même. Nous utilisons des archives de la presse française du 19ième siècle ainsi que des photographies prises par des Occidentaux au Japon pour comprendre la construction des stéréotypes et des représentations que les Occidentaux se font du Japon. Au terme de notre étude, nous pouvons conclure que le japonisme est bien un orientalisme, les discours sur le Japon sont toujours ambivalents et porteurs de stéréotypes qui sont liés aux intérêts coloniaux des Occidentaux au pays du Soleil Levant. Le japonisme est, directement ou indirectement, consciemment ou non, éminemment politique. Les sources nous renseignant sur le Japon et sur le Japon en Occident présentent un biais qui tend à unifier les structures observées dans tout le pays dit « orientaux ». En réintégrant le Japon à l'ensemble « orientale », nous pouvons mieux comprendre les intérêts et l'ambivalence des relations que les acteurs, Occidentaux comme Japonais, entretiennent les uns avec les autres.

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O cantor deve conhecer em profundidade a obra a ser executada, além de dominar o seu instrumento - a voz. Assim, este estudo foi baseado na análise de obras de Heitor Villa-Lobos (1887-1959), Gilberto Mendes (1922), Luiz Carlos Lessa Vinholes (1933), José Antonio de Almeida Prado (1943) e Rodolfo Coelho de Souza (1952), sob a ótica do intérprete artista, ou seja, do autor. As obras refletem o amálgama da miscigenação de várias culturas que compõem a nação brasileira. Através deste repertório, questionou-se por que compositores brasileiros compuseram canções com a temática japonesa e como ocorre o encontro da poética japonesa com a canção brasileira. A análise musical foi, em sua maioria, baseada no livro Poetry into song: performance and analysis of Lieder de Deborah Stein & Robert Spillman. Constatou-se a presença de uma esfera meditativa pelo uso de estruturas minimalistas e pentatonismos. De acordo com o autor, isto se deve pela busca do vazio e do silêncio enquanto criação musical. São, portanto, frutos da necessidade intrínseca de uma época - o Zeitgeist - ou seja, experimentações em busca de novas linguagens como tendências da música do século XX. Considerando a peculiaridade do cantor como músico, apresentamos com o título de \"Transcendência\" nossa visão do papel do intérprete do canto. É preciso transcender todo o conhecimento analítico para a execução musical a fim de sentir a canção. Pois é justamente com o sentir e as vivências entre o compositor, poeta e intérprete; Brasil e Japão; racional e afetivo; mundo interno e externo; análise e performance que as bordas fictícias ou imaginadas são atenuadas. / The singer must deeply understand the work to be interpreted and, in addition to this, he must dominate his instrument - the voice. Accordingly, this study is based on the analysis of works by Heitor Villa-Lobos (1887-1959), Gilberto Mendes (1922), Luiz Carlos Lessa Vinholes (1933), José Antônio de Almeida Prado (1943) and Rodolfo Coelho de Souza (1952), from the point of view of the artistic interpreter, the author. The art songs chosen reflect a cultural mosaic specific to Brazil. Through this repertoire, the author questioned why Brazilian composers chose a Japanese subject for their songs and how they integrated Japanese characteristics into Brazilian art song. This musical analysis was mainly based on the book Poetry into song: performance and analysis of Lieder by Deborah Stein & Robert Spillman. The author observed a presence of meditative atmosphere through the use of minimalist structure and pentatonicism. She believes this was the composers´ quest for emptiness and silence while still creating music. These are, therefore, the fruits of an era: the Zeitgeist, the experiments in a search for new languages, a tendency of 20th Century music. Considering the peculiarity of the singer as a musician, the author presents in a summarizing chapter, \"Transcendency\", what she believes the role of an artistic interpreter should express. The singer must transcend the analytical knowledge he has acquired prior to performance in order to know the song. Only then do the feeling and existence of the composer, the poet, the interpreter; Brazil and Japan; reason and emotion; inner and outer world; and analysis and performance integrate, and only then is the fictitious or imagined border blurred.