Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [176]-179).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Although little-studied in the scientific sphere, the subject of sexuality in older individuals has always been topic of literature. In the House of Sleeping Beauties (Nemureru Bijô 1962), the japanese writer Yasunari Kawabata presents an original entertainment house, where elderly men pay for spending the night with beautiful young girls put to sleep through narcotics. One of his last books published presents a series of reflections about love, sex, aging and death, almost in form of essay. The intensity and plasticity of his descriptions and thougts, inspired Gabriel García Márquez to write his book: Memories of my melancholy whores, which has one of Kawabata´s texts as epigram. The aim of this work is to analyse the topics evoked by the novel and distinguished aspects in the treatment of the erotic theme in Japan and in the West, in an effort to map the aspects of this intercultural reception. / Embora pouco estudado no meio científico, o tema da sexualidade em indivíduos de idade avançada sempre foi tema da literatura. Em A Casa das Belas Adormecidas (Nemureru Bijô, 1962), o japonês Yasunari Kawabata apresenta uma original casa de entretenimento, onde idosos pagam para passar a noite em companhia de belas jovens, adormecidas à base de narcóticos. Sendo um de seus últimos livros publicados, apresenta uma série de reflexões sobre o amor, o sexo, o envelhecimento e a morte, de forma quase ensaística. A intensidade e plasticidade de suas descrições e reflexões inspiraram Gabriel García Márquez a escrever seu romance Memórias de Minhas Putas Tristes, que tem o texto do japonês como epígrafe. Neste trabalho, buscou-se analisar os temas suscitados pelo romance e aspectos diferenciados no tratamento do tema erótico no Japão e no Ocidente, numa tentativa de mapear aspectos dessa recepção intercultural.

Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2012. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-01-11T11:30:35Z No. of bitstreams: 1 2012_DonatellaNatili.pdf: 8778076 bytes, checksum: 9b1ed24c6acf8af0bc35a507420102e6 (MD5) / Approved for entry into archive by Luanna Maia(luanna@bce.unb.br) on 2013-01-28T11:32:55Z (GMT) No. of bitstreams: 1 2012_DonatellaNatili.pdf: 8778076 bytes, checksum: 9b1ed24c6acf8af0bc35a507420102e6 (MD5) / Made available in DSpace on 2013-01-28T11:32:55Z (GMT). No. of bitstreams: 1 2012_DonatellaNatili.pdf: 8778076 bytes, checksum: 9b1ed24c6acf8af0bc35a507420102e6 (MD5) / O Prêmio Nobel, conferido pela primeira vez ao Japão em 1968, com a escolha de Kawabata Yasunari, representou para a literatura japonesa um marco entre um passado de marginalidade cultural, de um Japão considerado “periférico” e “exótico” em relação à Europa e Américas, e um presente de inserção e integração em nível internacional. Considerando que o Nobel existia há 67 anos, tratava-se de um prêmio tardio para uma literatura de extraordinária riqueza como a japonesa, mas, ao mesmo tempo, era o reconhecimento de o Japão pertencer ao mundo da cultura, e por esta razão, assumiu um significado simbólico muito além do real prestígio do Prêmio. Quando, em 1994, o Prêmio Nobel é conferido também a Ōe Kenzaburō, delineia-se uma situação na qual os dois únicos autores premiados, também testemunhas dos dois únicos momentos em que a literatura (e a cultura) japonesa destaca-se em uma premiação internacional, tornam-se pontos de referência pelo fato de representar realidades e visões culturais diferentes, às vezes antitéticas, irrenunciáveis para a formação da identidade da literatura japonesa (uma formação provocada pelo contato com o “Outro”). Uma comparação entre os dois autores foi inevitável, como o mesmo Ōe tem demonstrado, quando escolheu fazer um discurso em que polemizava com Kawabata... É um caso único da história do Nobel que contrapõe duas Weltanshauung muito diferentes: a Beleza versus Ambiguidade, a Evasão na tradição contra a Ruptura dos paradigmas culturais. Estes são os temas sobre os quais este trabalho propõe-se a refletir. ______________________________________________________________________________ ABSTRACT / The Nobel Prize, first awarded in 1968 to Japan, with the choice of Kawabata Yasunari, represented, for Japanese literature, a landmark between a background of cultural marginality – a Japan considered a “peripheral” and “exotic” in relation to Europe and the Americas – and a present of insertion and integration at an international level. Whereas as the Nobel existed for sixty-seven years, it was a prize for a later literature of extraordinary richness as the Japanese, but at the same time, it was the recognition for Japan to belong to the world of culture, and for this reason assumed a symbolic significance far beyond the real prestige of the award. When, in 1994, the Nobel Prize was also awarded to Ōe Kenzaburō, it outlined a situation in which the only two winning authors – also witnesses of the only two times in the literature (and culture) Japanese stands out in an international award – become reference points for the fact of representing different cultural realities and visions, sometimes antithetical, indispensable to the formation of the identity of the Japanese literature (a formation caused by contact with the “Other”). A comparison between the two authors was inevitable, as the same Ōe has shown, when he chose to make a speech in which he polemicized with Kawabata... It is a unique case in the history of Nobel which contrasts two very different Weltanshauung: Beauty versus Ambiguity, Evasion in the tradition against Rupture of cultural paradigms. These are the themes on which this thesis proposes to reflect.

Lau, Chi Sum Garfield. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 136-137). / Abstracts in English and Chinese. / Introduction: Conflictual Self in the Modern Era: Conrad and Kawabata --- p.6 / Chapter Chapter One: --- Immorality and Conflictual Self in Conrad's The Return --- p.20 / Chapter Chapter Two: --- The Past and Split Self in Kawabata's Thousand Cranes --- p.50 / Chapter Chapter Three: --- Conflictual Self and Split Self in Conrad's The Secret Agent and Kawabata's The Sound of the Mountain --- p.81 / Conclusion: Conflictual Self in Occidental and Oriental Contexts --- p.117 / Bibliography --- p.136

Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [308]-338).

Les perspectives de recherche de cette étude s'organisent autour d'un axe thématique qui ouvre la dimension littéraire japonaise contemporaine au débat critique international : l'un des enjeux de notre analyse est de comprendre, par la comparaison d'un nombre limité d'œuvres exemplaires, la spécificité de l'expérience de la réécriture parodique du canon au Japon. Par ailleurs, tout en définissant de façon ponctuelle et rigoureuse le champ d'investigation, cette analyse permet de réfléchir au problème complexe de l'utilisation, devenue paradigmatique, des formes intertextuelles dans la littérature "postmoderne". S'agit-il d'une façon pour préserver ou déconstruire ? Est-il possible de considérer la relecture parodique comme une forme de traduction du canon? Dans cette perspective, on se propose de conduire une analyse directe et comparative des œuvres d'auteurs divers mais qui se sont tous intéressés à des textes-source communs : en particulier on prend en considération le cas exemplaire des parodies des textes de Kawabata Yasunari (1899 – 1972) réalisées par Ogino Anna (1956), Inoue Hisashi (1934-2010) et Shimizu Yoshinori (1947) (respectivement dans "Watashi no aidokusho", 1991 ; "Bun to Fun", 1970 et "Kirikirijin", 1981 ; "Ese monogatari", 1991). Face aux œuvres immortelles du grand maître de la modernité, tous trois ont réalisé des parodies qu'on peut lire comme des traductions dans un langage nouveau d' hypotextes célèbres ("Yukiguni", "Izu no odoriko") ; ou, en même temps, comme des parodies de la traduction, qui révèlent les fragments d'un jeu cassé, moyens utiles à la réflexion metatextuelle. / The overall aim of my research is to investigate whether and, if so, how the use of intertextual tropes like parody and pastiche have been a determining factor in the “translation” of the modern canon in contemporary Japanese literature. In order to investigate these aspects, I have explored as a case study three works completely different in terms of style and themes, but that share a common hypotext: in fact, I analyse in this research the parodies of Yukiguni, the worldwide renowned masterpiece of Kawabata Yasunari, realized by Ogino Anna, Shimizu Yoshinori and Inoue Hisashi (respectively in Watashi no aidokusho　『私の愛毒書』, 1991; Ese monogatari 『江勢物語』, 1991; Kirikirijin, 『吉里吉里人』, 1981).Through a comparative examination of the chosen texts, but also considering the critical discourse on the “canonization” of the works of Kawabata and the non-negligible role of their translations for the western audience, I try to demonstrate the strategic importance of intertextual practices in contemporary Japanese literary scene: the exploration of the use of parody and pastiche in postmodern Japanese context highlight the challenging perspective of a literature that reflect on itself by reflecting itself. / Le prospettive di ricerca di questo studio si concentrano attorno ad un asse tematico che apre la dimensione letteraria giapponese contemporanea al dibattito critico internazionale : nucleo essenziale del nostro percoso è infatti la proposta di un'analisi, realizzata attraverso la messa in relazione di un corpus di testi esemplari, dell'esperienza della riscrittura parodica del canone letterario moderno nel Giappone contemporaneo.In particulare, il caso di studio analizzato è quello delle riscritture realizzate da tre autori contemporanei (Ogino Anna, Shimizu Yoshinori, Inoue Hisashi) che hanno in commune ipotesti estremamente celebri : Yukiguni ("Il paese delle nevi") e Izu no odoriko ("La ballerina del paese delle nevi"), di Katawabe Yasunari, primo Nobel giapponese per la letteratura.

Thesis (M.A.)--University of Iowa, 1992. / Typescript (photocopy). eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 112-117).

Thesis (M.A.)--University of Iowa, 1992. / Typescript (photocopy). Includes bibliographical references (leaves 112-117).

Les perspectives de recherche de cette étude s'organisent autour d'un axe thématique qui ouvre la dimension littéraire japonaise contemporaine au débat critique international : l'un des enjeux de notre analyse est de comprendre, par la comparaison d'un nombre limité d'œuvres exemplaires, la spécificité de l'expérience de la réécriture parodique du canon au Japon. Par ailleurs, tout en définissant de façon ponctuelle et rigoureuse le champ d'investigation, cette analyse permet de réfléchir au problème complexe de l'utilisation, devenue paradigmatique, des formes intertextuelles dans la littérature "postmoderne". S'agit-il d'une façon pour préserver ou déconstruire ? Est-il possible de considérer la relecture parodique comme une forme de traduction du canon? Dans cette perspective, on se propose de conduire une analyse directe et comparative des œuvres d'auteurs divers mais qui se sont tous intéressés à des textes-source communs : en particulier on prend en considération le cas exemplaire des parodies des textes de Kawabata Yasunari (1899 – 1972) réalisées par Ogino Anna (1956), Inoue Hisashi (1934-2010) et Shimizu Yoshinori (1947) (respectivement dans "Watashi no aidokusho", 1991 ; "Bun to Fun", 1970 et "Kirikirijin", 1981 ; "Ese monogatari", 1991). Face aux œuvres immortelles du grand maître de la modernité, tous trois ont réalisé des parodies qu'on peut lire comme des traductions dans un langage nouveau d' hypotextes célèbres ("Yukiguni", "Izu no odoriko") ; ou, en même temps, comme des parodies de la traduction, qui révèlent les fragments d'un jeu cassé, moyens utiles à la réflexion metatextuelle. / The overall aim of my research is to investigate whether and, if so, how the use of intertextual tropes like parody and pastiche have been a determining factor in the “translation” of the modern canon in contemporary Japanese literature. In order to investigate these aspects, I have explored as a case study three works completely different in terms of style and themes, but that share a common hypotext: in fact, I analyse in this research the parodies of Yukiguni, the worldwide renowned masterpiece of Kawabata Yasunari, realized by Ogino Anna, Shimizu Yoshinori and Inoue Hisashi (respectively in Watashi no aidokusho　『私の愛毒書』, 1991; Ese monogatari 『江勢物語』, 1991; Kirikirijin, 『吉里吉里人』, 1981).Through a comparative examination of the chosen texts, but also considering the critical discourse on the “canonization” of the works of Kawabata and the non-negligible role of their translations for the western audience, I try to demonstrate the strategic importance of intertextual practices in contemporary Japanese literary scene: the exploration of the use of parody and pastiche in postmodern Japanese context highlight the challenging perspective of a literature that reflect on itself by reflecting itself. / Le prospettive di ricerca di questo studio si concentrano attorno ad un asse tematico che apre la dimensione letteraria giapponese contemporanea al dibattito critico internazionale : nucleo essenziale del nostro percoso è infatti la proposta di un'analisi, realizzata attraverso la messa in relazione di un corpus di testi esemplari, dell'esperienza della riscrittura parodica del canone letterario moderno nel Giappone contemporaneo.In particulare, il caso di studio analizzato è quello delle riscritture realizzate da tre autori contemporanei (Ogino Anna, Shimizu Yoshinori, Inoue Hisashi) che hanno in commune ipotesti estremamente celebri : Yukiguni ("Il paese delle nevi") e Izu no odoriko ("La ballerina del paese delle nevi"), di Katawabe Yasunari, primo Nobel giapponese per la letteratura.

Seam quality is affected by various fabric mechanical properties with a combination of their sewing parameters. Previously, a lot of research has been done on identifying the parameters that influencing seam quality by looking into correlation between fabric properties and sewing parameters. The purpose of this current study was to investigate the performance of seam quality in terms of seam appearance and strength constructed with different sewing parameters. Another aim was to identify parameters that influence the seam quality using the Structural Equation Modelling (SEM) by AMOS and leads to the development of multivariable predictive equations using SPSS. Finally, the validation between experimental and predicted results using newly developed equations was examined using a new set of fabrics. The investigation was done for five different fabric categories, namely light, light to medium, medium, medium to heavy and heavy weight. A total of 45 fabrics with different weave densities, fibre types and structures were used. Seams were produced using various sewing parameters such as threads with different fibre types and structures, needle sizes and stitch densities. All fabrics were tested for their mechanical properties using two established items of equipment known as Kawabata Evaluation System for Fabrics (KES-F) and Fabric Assurance by Simple Testing (FAST). Seam evaluations together with thread and fabric mechanical properties obtained from KES-F and FAST were used as input for modelling. From the experimental work, it was concluded that the usage of thicker threads did not always give better strength and the seam appearance was also poor. A combination of finer thread with moderate strength and a medium level of stitch density according to fabric weight category provided an effective result for both seam appearance and strength. From the modelling work, it was found that the extensibility, bending and shearing properties, together with thread properties including extensibility, tensile strength and size, were among the properties selected by SEM to be included in the predictive equations. The validation results showed that the standard deviation between fabric properties used to develop the equations and new fabric properties used for validation plays an important role. The principal conclusion was that the prediction equations developed using SEM and SPSS possible to be used and gave a strong validation between experimental and predicted results when the new fabric properties were within one standard deviation.