Community-driven approach to Heritage Conservation has been increasingly discussed internationally. One of the principles in the Charter for the Conservation of Historic Towns and Urban Areas drawn up by International Council on Monuments and Sites (ICOMOS) stated “the participation and the involvement of the residents are essential for the success of the conservation programme and should be encouraged.” (ICOMOS 1987) One of the more well-known bottom-up approaches is Machizukuri from Japan. 　　The origin of Machizukuri in Japan largely stems from the desire of local residents to maintain and develop aspects of their living environment that can otherwise be threatened by external forces. The need to voice out on behalf of their own community is often a relatable trait for various communities all around the world. 　　In the case of Machizukuri, its origin was cast in the backdrop of a post-war Japan, where at first glance the entire country seemed to homogeneously focus solely on modernisation and economic development regardless of costs (Siegenthaler 2004, 3). But as the truth revealed, many local communities—far away from the Japan National Government in Tokyo and its consideration when shaping the country’s urban planning scheme of the time—often differ from the opinions of top-down decision makers on how their own neighbourhood should be developed. 　　When this Japanese concept of bottom-up approach first started, the leaders of these organisations were mainly made up of local non-professional residents, contrasting greatly to the conventional decision makers comprised of scholars and bureaucrats—the “traditional elite”. And yet, despite its modest beginning, after decades of development, Machizukuri is seen as a proven method to effectively solve a wide-range of issues in areas such as planning, heritage conservation, and disaster relief. 　　Over time, the Japan National Government gradually accepted the merits of Machizukuri, eventually incorporating it into national planning law. It was evident that local inputs often improved upon planning decisions made by top-down approach, and thereby increased the chance of successful implementation. 　　After several decades, Machizukuri is recognised as a proven bottom-up, community-driven concept that aimed for the improvement of quality of living through the participation of local citizens of Japan. It represents an important development in local politics and urban management in Japan. The recent citizen movement of Hong Kong, since the 1997 Handover, shared similarities to the situation that led to the creation of the Machizukuri movement in Japan at that time. 　　 　　As Machizukuri gradually matures over the past decades, it became fully recognised in Japan and internationally as an effective method to conduct community-driven citizen participation activities. It can be a viable option for Hong Kong to consider as the citizens are exploring bottom-up conservation solutions. / published_or_final_version / Conservation / Master / Master of Science in Conservation

In this thesis, I analyse the poetic work of Japanese author Ōtomo no Yakamochi. First, I pay attention to Yakamochi's private poetry. Next, I deal with the poetry he sent to a private recipient, and finally, I turn to his poetry presented during a social event. I stress the relationship between Yakamochi's work and older poetic traditions and I also identify original elements in poems where he used them. The thesis presents Yakamochi as a universal author of 8th century Japanese poetry. Keywords: Ōtomo no Yakamochi. Manyōshū. Japanese poetry. Nara period.

Este estudo traz para a discussão, no primeiro capítulo, o mangá como expressão artística, cujo modelo de criação se distingue dos demais quadrinhos pela pluralidade e diversidade de gêneros. São apresentados estudos sobre a linguagem visual das histórias em quadrinhos a partir de teorias ocidentais e japoneses que se correlacionam, como a forma de desenho de quadros, balões, hiatos, linhas cinéticas, metáforas visuais e suas características de linguagem universal. As linhas, planos de fundo e composições das páginas estabelecem relações com a arte tradicional japonesa dos emakimono (rolos de pintura), das xilogravuras ukiyo-e e das padronagens dos quimonos, sendo por isso analisados tais elementos. Ainda, abordam-se as onomatopeias, característica peculiar da língua japonesa que se revelam como subsídios necessários para valorizar sensações e emoções na narrativa, mesmo quando o silêncio é proposto; acentua-se também o grafismo visual que as integram à cena. Por fim, são levantadas as características na construção dos personagens, como a forma dada a corpos e olhos e as expressões faciais, que têm forte semelhança com as figuras das xilogravuras ukiyo-e, das revistas ilustradas Jojô-ga e das desenhadas por Osamu Tezuka. O segundo capítulo põe em debate o boom do mangá, animê e da cultura otaku do pós-guerra, que se apresentam para os artistas japoneses, da década de 1990, como elementos importantes para a produção de suas obras: assim se inserem os trabalhos de Takashi Murakami e Yoshitomo Nara, em suas relações com o mangá e com as artes tradicionais. Mesmo com ideais distintos, esses artistas participaram do movimento Neo Pop japonês e da exposição Super Flat (2000), e repensaram suas produções a partir da catástrofe natural de 2011. Pela dificuldade em encontrar bibliografia, muitas das informações obtidas nesta pesquisa se basearam em textos de jornais, curadores e críticos de arte ocidentais e japoneses, bem como na visitação a exposições dos artistas no Japão. Soma-se a esse capítulo a estética kawaii cujo ideal revela um universo infantilizado, que influencia as artes, se fortalece pelo fomento da indústria pop nipônica, atravessa as fronteiras para o ocidente e por isso se configura como produto de identidade nacional. As obras dos artistas supracitados dialogam com essa estética e também com a estética basara, que ostenta aquilo que é exuberante e luxuoso. / In its first chapter, this study arises the discussion of the manga as an artistic expression. Its creation model is distinguished from other comics by the plurality and diversity of genres. It presents studies on the visual language of comics from Western and Japanese theories which correlates, such as how to design panel, balloons, gutter, motion lines, living lines and they characteristics of universal language. The lines, backgrounds and pages compositions establish relations with the Japanese traditional art of emakimono (paint rollers), ukiyo-e woodblock prints and kimonos patterns, and have, therefore, such elements analyzed. Furthermore, approach the onomatopoeia, a peculiar characteristic of the Japanese language that reveal as necessary support to value sensations and emotions in the narrative, even when silence is proposed; it also accentuates the visual graphics that are part of the scene. Finally, the features are lifted in the construction of the characters, as the form given to bodies and eyes and facial expressions, which have strong resemblance to the woodblock ukiyo-eimages, the illustrated magazines Jojo-ga and drawn by Osamu Tezuka. The second chapter puts on the manga boom debate, anime and otaku culture of the postwar period, which are presented to the Japanese artists of the 1990s, as important elements for the production of their artworks: thus are inserted the work of Takashi Murakami and Yoshitomo Nara, in its relations with the manga and traditional arts. Even with ideal distinct, these artists participated in the movement Neo Japanese Pop and exposure Super Flat (2000), and rethought their production from natural disaster 2011. The difficulty in finding bibliography, much of the information obtained in this study were based on newspaper texts, curators and critics of Western and Japanese art, as well as visits to exhibitions of artists in Japan. Added to this chapter kawaii aesthetic ideal which reveals infantile universe, which influences the arts, strengthened by foment Nipponese pop industry, crosses borders to the West and so is configured as national identity product. The artworks of the above artists dialogue with this aesthetic and also with basara aesthetics, which boasts what is exuberant and luxurious.

Este estudo traz para a discussão, no primeiro capítulo, o mangá como expressão artística, cujo modelo de criação se distingue dos demais quadrinhos pela pluralidade e diversidade de gêneros. São apresentados estudos sobre a linguagem visual das histórias em quadrinhos a partir de teorias ocidentais e japoneses que se correlacionam, como a forma de desenho de quadros, balões, hiatos, linhas cinéticas, metáforas visuais e suas características de linguagem universal. As linhas, planos de fundo e composições das páginas estabelecem relações com a arte tradicional japonesa dos emakimono (rolos de pintura), das xilogravuras ukiyo-e e das padronagens dos quimonos, sendo por isso analisados tais elementos. Ainda, abordam-se as onomatopeias, característica peculiar da língua japonesa que se revelam como subsídios necessários para valorizar sensações e emoções na narrativa, mesmo quando o silêncio é proposto; acentua-se também o grafismo visual que as integram à cena. Por fim, são levantadas as características na construção dos personagens, como a forma dada a corpos e olhos e as expressões faciais, que têm forte semelhança com as figuras das xilogravuras ukiyo-e, das revistas ilustradas Jojô-ga e das desenhadas por Osamu Tezuka. O segundo capítulo põe em debate o boom do mangá, animê e da cultura otaku do pós-guerra, que se apresentam para os artistas japoneses, da década de 1990, como elementos importantes para a produção de suas obras: assim se inserem os trabalhos de Takashi Murakami e Yoshitomo Nara, em suas relações com o mangá e com as artes tradicionais. Mesmo com ideais distintos, esses artistas participaram do movimento Neo Pop japonês e da exposição Super Flat (2000), e repensaram suas produções a partir da catástrofe natural de 2011. Pela dificuldade em encontrar bibliografia, muitas das informações obtidas nesta pesquisa se basearam em textos de jornais, curadores e críticos de arte ocidentais e japoneses, bem como na visitação a exposições dos artistas no Japão. Soma-se a esse capítulo a estética kawaii cujo ideal revela um universo infantilizado, que influencia as artes, se fortalece pelo fomento da indústria pop nipônica, atravessa as fronteiras para o ocidente e por isso se configura como produto de identidade nacional. As obras dos artistas supracitados dialogam com essa estética e também com a estética basara, que ostenta aquilo que é exuberante e luxuoso. / In its first chapter, this study arises the discussion of the manga as an artistic expression. Its creation model is distinguished from other comics by the plurality and diversity of genres. It presents studies on the visual language of comics from Western and Japanese theories which correlates, such as how to design panel, balloons, gutter, motion lines, living lines and they characteristics of universal language. The lines, backgrounds and pages compositions establish relations with the Japanese traditional art of emakimono (paint rollers), ukiyo-e woodblock prints and kimonos patterns, and have, therefore, such elements analyzed. Furthermore, approach the onomatopoeia, a peculiar characteristic of the Japanese language that reveal as necessary support to value sensations and emotions in the narrative, even when silence is proposed; it also accentuates the visual graphics that are part of the scene. Finally, the features are lifted in the construction of the characters, as the form given to bodies and eyes and facial expressions, which have strong resemblance to the woodblock ukiyo-eimages, the illustrated magazines Jojo-ga and drawn by Osamu Tezuka. The second chapter puts on the manga boom debate, anime and otaku culture of the postwar period, which are presented to the Japanese artists of the 1990s, as important elements for the production of their artworks: thus are inserted the work of Takashi Murakami and Yoshitomo Nara, in its relations with the manga and traditional arts. Even with ideal distinct, these artists participated in the movement Neo Japanese Pop and exposure Super Flat (2000), and rethought their production from natural disaster 2011. The difficulty in finding bibliography, much of the information obtained in this study were based on newspaper texts, curators and critics of Western and Japanese art, as well as visits to exhibitions of artists in Japan. Added to this chapter kawaii aesthetic ideal which reveals infantile universe, which influences the arts, strengthened by foment Nipponese pop industry, crosses borders to the West and so is configured as national identity product. The artworks of the above artists dialogue with this aesthetic and also with basara aesthetics, which boasts what is exuberant and luxurious.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-07T13:07:50Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação_Pedrosa_FINAL.pdf: 10495166 bytes, checksum: baa8072d0a4f0c480c0a010da0b58b6e (MD5) / Made available in DSpace on 2016-07-07T13:07:51Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação_Pedrosa_FINAL.pdf: 10495166 bytes, checksum: baa8072d0a4f0c480c0a010da0b58b6e (MD5) Previous issue date: 2015-08-31 / Acessibilidade de pessoas com deficiência ao patrimônio cultural urbanístico e arquitetônico é o objeto desta dissertação. Partindo de uma reflexão sobre valor de significância, autenticidade e sustentabilidade do patrimônio cultural, estudos de conservação integrada são confrontados com o tema acessibilidade, respaldado, por sua vez, em marcos políticos institucionais, acordados por diferentes países em respeito aos direitos universais dos cidadãos. Acessibilidade é compreendida como autonomia, segurança e comodidade, nos espaços e edificações, bem como acesso aos equipamentos urbanos, com direito de ir e vir para o trabalho, lazer, habitação e mobilidade. Assim, o objetivo geral deste trabalho é avaliar dificuldades de compatibilização entre acessibilidade ao meio físico e conservação, investigando uma área histórica da cidade do Recife, o Largo do Carmo, e explorando depoimentos de segmentos sociais que lidam com essa temática. Os depoimentos foram obtidos por meio de questionários específicos elaborados para pessoas com deficiência, para arquitetos e para funcionários públicos do patrimônio cultural. As questões exploraram vivências ou experiências profissionais com o intuito de amplificar aspectos sutis e sensíveis da discussão proposta. O exame da acessibilidade urbanística do entorno do Carmo foi realizado com recursos e procedimentos disponíveis para evidenciar múltiplas dificuldades que afetam as pessoas com deficiência. Além de registros fotográficos, uso do clinômetro e trena, foram utilizados três mapas (UNIBASE) do local e fichas de avaliação que permitem a caracterização do ambiente pesquisado e o levantamento de informações sobre a circulação urbana, o acesso aos lotes e edificações, ao mobiliário urbano e aos transportes, fichas essas elaborada por José Antônio Lanchoti, em 2005. Para investigar a autenticidade dos imóveis históricos integrantes dessa área – a Igreja da Ordem Terceira do Carmo, a Basílica Nossa Senhora do Carmo e o Imóvel Especial de Preservação (IEP nº 59) – vários instrumentos averiguaram suas dimensões: artística, histórica, social e científica. Foram considerados: formas e desenho; substância e materiais; uso e função; tradições e técnicas; localização e espaço; e espírito e sentimento, itens indicados na carta de Veneza de 1964. Utiliza-se também a tabela de autenticidade (Nara-Grid) proposta por Koenraad van Balen, em 2008. Acessibilidade e autenticidade puderam, então, integrar uma Matriz, elaborada por Luís Oscar Ferreira, em 2011, e adaptada para o presente estudo. Ela foi o principal resultado obtido neste estudo, ou seja, um instrumento de intervenção de modo a orientar a adequação da acessibilidade do entorno do Carmo sem prejuízos de seu valor de significância e autenticidade. Além disso, os resultados obtidos a partir dos questionários sugerem a necessidade de cursos sobre acessibilidade para arquitetos que reclamaram de pouca (in)formação recebida na graduação, bem como sugerem oportunidades de debate sobre esse tema, de modo a envolver profissionais da área e pessoas com deficiência, ciosas de seus direitos. Estas podem contribuir com indicações necessárias para o acesso universal aos valores culturais. Conclui-se que é possível conciliar a acessibilidade com a conservação do patrimônio cultural sem prejudicar a autenticidade e quebra-se o simplismo de se considerar o patrimônio intocável, não sujeito à intervenção mínima. / Accessibility for people with disabilities to urban and architectural cultural heritage is the object of this work. From a reflection on significance value, authenticity and sustainability of cultural heritage, integrated conservation studies are confronted with the theme accessibility, based, in turn, on institutional policy frameworks in agreement with different countries as far as universal citizens' rights are concerned. Accessibility is understood as autonomy, safety and convenience, in spaces and buildings, as well as the access to urban facilities, with the right to come and go to work, leisure, housing and mobility. Thus, in general terms, the aim of this study is to evaluate difficulties in reconciling conservation and accessibility to physical means, investigating a historical area of the city of Recife - Carmo Plaza - and exploring testimony from social groups that deal with this issue. The testimonies were obtained through specific questionnaires designed for people with disabilities, for architects and civil servants of cultural heritage. The issues explored professional experiences in order to amplify subtle and sensitive aspects of the proposed discussion. The analysis of urban accessibility of the surrounding Carmo was carried out with resources and procedures available to show multiple difficulties that affect people with disabilities. In addition to photographic records, use of the clinometer and measuring tape, three maps of the location were used (UNIBASE), as well as assessment cards that allow the characterization of the researched environment; information was also collected on urban traffic, access to lots and buildings, urban furniture and transport. These cards were developed by José Antonio Lanchoti in 2005. To investigate the authenticity of historic buildings integrating this area – Ordem Terceira do Carmo Church, Nossa Senhora do Carmo Basilica and the Special Property of Preservation (IEP Nº. 59) – various instruments ascertained its dimensions: artistic, historic, social and scientific. Considered aspects were: shapes and design; substance and materials; use and function; traditions and techniques; location and space; and spirit and feeling, items shown in the letter of Venice in 1964. The authenticity table (Nara-Grid) proposed by Koenraad Van Balen in 2008 is also used. Accessibility and authenticity could then integrate a Matrix, designed by Luís Oscar Ferreira in 2011, and adapted for this study. It was the main result obtained in this study, i.e. an instrument of intervention in order to guide the adaptation of accessibility of the surrounding Carmo without loss of its significance and authenticity values. In addition, the results obtained from the questionnaires suggest the need for courses on accessibility for architects who complained about poor background received at undergraduation, and suggests opportunities for debate on this issue, involving professionals and people with disability, eager for their rights. These people can contribute with necessary information to universal access to cultural values. The conclusion is that it is possible to combine accessibility with the preservation of cultural heritage without damaging the authenticity breaking the simplism to consider the heritage untouchable, not subjected to minimal intervention.

La présente thèse s’intéresse à l’authenticité du mobilier français de l’époque classique selon trois axes de réflexion : interprétation, évaluation et préservation. Dans un premier temps, le sens du mot « authenticité » est exploré ainsi que sa portée dans le domaine de la conservation du patrimoine culturel, et ce corrélativement à l’évolution de la pratique de la restauration. À partir des réflexions engagées lors de la Conférence de Nara sur l’authenticité, tenue au Japon en 1994 dans le cadre de la Convention du patrimoine mondial, des critères d’évaluation de l’authenticité spécifiques au mobilier sont proposés. Ensuite, les caractéristiques esthétiques du mobilier français de l’époque classique et les techniques qui lui sont associées sont traitées. Une « procédure d’authentification » est proposée pour évaluer et préserver son authenticité. Enfin, quatre études de cas illustrent les idées développées ; l’authenticité de chacun de ces meubles est appréciée à l’aide des « critères d’évaluation » établis. / This dissertation focuses on the authenticity of French furniture of the Classic period in regard to its interpretation, evaluation and preservation. The first part, theoretical, addresses the meaning of the word “authenticity” as well as its interpretation in the context of cultural heritage and looks into the history of conservation. Based on the exchanges carried out during the Nara Conference on Authenticity, held in Japan in 1994 in relation to the World Heritage Convention, specific evaluation criteria for furniture are suggested. The second part, technical, will review aesthetic features of French furniture of the Classic period as well as its associated techniques. An “authentication procedure” is proposed to evaluate and preserve authenticity. Four case studies allow, in the third part, to illustrate the ideas previously discussed; the authenticity of each of them is assessed from the “evaluation criteria” established.

In 733, Japan’s ninth diplomatic mission to Tang China conveyed two Japanese Buddhist monks committed to finding a Chinese master of Buddhist precepts. The prevailing explanation for the precepts master solicitation states that Japan lacked sufficient numbers of fully ordained monks to conduct ordinations using vinaya codes of conduct. While this campaign successfully resulted in precept masters going to Japan in 736 and again in 754, there were no notable changes to monastic ordinations until after the final monk arrived. It is commonly presumed that only the latter precepts master possessed sufficient charisma, training, and followers necessary to establish a vinaya tradition. However, this explanation presumes that the later reforms matched the original expedition’s intent. Moreover, this position ignores the other monks’ activities in Japan’s political, cultural, and religious affairs between 736-754. It is also not supported by period texts. In this work, I utilize textual and physical evidence to demonstrate that these overseas monks’ activities and significance were largely unrelated to monastic precepts and ordinations. Instead, they rose to prominence due to their knowledge of Buddhist texts and rituals, familiarity with neighboring countries’ Buddhist legitimation and protection systems, fluency in overseas forms of cultural capital, and embodied otherness. Their influence can be seen in their involvement in the Ministry for Monastic Affairs, promulgation of the Avataṃsaka Sutra, and the creation and worship of the Great Buddha of Nara. Through highlighting these understudied and highly diverse monks, I demonstrate that Japan’s overseas population was intrinsically involved with the country’s transformation into a transregionally-connected, Buddhist country. Moreover, I argue that the overseas monks affiliated with Daianji Temple (大安寺) provided the Japanese court with direct ties to foreign countries that not only expanded Japanese international awareness, but also helped establish the country’s understanding of its position within a broader Buddhist world.

As mudanças políticas das décadas de 50, 60, 70 e 80 foram pano de fundo para a transformação da música nacional no Brasil e Nara Leão fez parte desse processo. Através de sua carreira artística podemos recontar a história da Música Popular Brasileira (MPB) e descobrir compositores antes não conhecidos e que vieram a luz através de sua performance. Nos anos 50, a Bossa Nova surgiu como uma mistura do samba, que não era aceito pela sociedade moderna por sua associação à pobreza, com o jazz americano, criando uma nova identidade na música. Nara fez parte do grupo que desenvolveu esse tipo de música que era o símbolo da sociedade moderna de classe média do Rio. Em uma nova fase de sua vida, percebeu que a vida era mais difícil para muitos e sentiu o desejo de usar a música para movimentar as massas para o bem comum, o que lhe levou a gravação do disco Opinião e a criação de um show inovador e extremamente político. Por ter um bom gosto e uma mentalidade aberta para diferentes estilos de música, Nara participou de parcerias memoráveis com Chico Buarque, que se tornou o maior símbolo da música politizada. Sempre a frente de seus colegas cantores, também fez parte do movimento Tropicália, movimento criado para quebrar todas as barreiras impostas na música e nas artes pelos ditadores e até mesmo intelectuais de esquerda, quando ainda era extremamente criticado pelos adeptos à MPB. Sua carreira foi marcada pela descoberta de novos estilos e a reinvenção de estilos existentes na música brasileira e por isso que Nara Leão se tornou um dos maiores nomes da música brasileira

Made available in DSpace on 2016-12-08T16:59:52Z (GMT). No. of bitstreams: 1 RochelleHistoria.pdf: 2323825 bytes, checksum: 46b0f0207d5478f4a9b133451a189ddc (MD5) Previous issue date: 2012-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The idea for this research came from the following question: to what extent a fashion collection can act contemporaneously in the construction and assemblage of memories, becoming itself a place of memory ? From this problem, our aim is to contribute to theoretical studies on the role of fashion in contemporary historical construction. With the fashion collection Nara Leão 2007/2008, by the fashion designer Ronaldo Fraga, and the interpretations it generates, we sought to understand the collection as part of cultural expression and production of social memory. The object of research is treated as a discourse that contributes to the construction of a memory about the Brazilian culture. This discourse about a past event, on becoming a fashion product, using all of the divulgation regarding the subject, allows provocation of this memory and new possibilities of reading in relation to this culture. The resources for the implementation of the research are based on the theoretical framework about: culture, fashion, memory, discourse production and analysis of images. Through these theories, it was possible to investigate how the representations were made regarding the life and work of the singer Nara Leão by Ronaldo Fraga. The career of this fashion designer was investigated in order to understand the conditions of reception of his work through his consolidated career. Analyses of images from the collection and of the discourses of its divulgation present identification elements of national culture, becoming monuments of social remembrance. Because memory is always a current phenomenon, which maintains a link between past and present, with gaps and with properties that allow the incorporation of even a myth, the results obtained in this research suggest the possibilities of understanding the performance of the phenomenon of fashion in historical construction / A ideia para esta pesquisa partiu do seguinte questionamento: em que medida uma coleção de moda pode atuar, contemporaneamente, na construção e no agenciamento de memórias, tornando-se ela mesma um lugar de memória ? A partir dessa problemática, definiu-se, como objetivo, contribuir com estudos teóricos sobre a atuação da moda na construção histórica contemporânea. Com a coleção de moda Nara Leão 2007/2008, do estilista Ronaldo Fraga, e com as interpretações por ela geradas, buscou-se compreender a coleção como elemento de manifestação cultural e de produção de memória social. O objeto de pesquisa é tratado como um discurso que contribui para a construção de uma memória sobre a cultura brasileira. Este discurso a respeito de um fato passado, ao ser transformado em produto de moda, utilizando-se de toda a divulgação em torno do tema, permite a provocação dessa memória e novas possibilidades de leitura em relação a essa cultura. Os recursos para a concretização da pesquisa estão baseados em referencial teórico sobre: cultura, moda, memória, produção discursiva e análise de imagens. Por meio dessas teorias, foi possível investigar de que forma foram feitas as representações referentes à vida e à obra da cantora Nara Leão por parte de Ronaldo Fraga. A carreira desse estilista foi investigada a fim de perceber as condições de recepção de sua obra por meio de sua carreira já consolidada. As análises das imagens da coleção, bem como dos discursos de sua divulgação, apresentam elementos de identificação da cultura nacional, transformando-se em monumentos de rememoração social. Por ser a memória um fenômeno sempre atual, que mantém uma ligação entre passado e presente, com falhas e com propriedades que permitem inclusive a incorporação de um mito, os resultados obtidos com a pesquisa apontam as possibilidades de perceber a atuação do fenômeno da moda na construção histórica

This thesis analyses the nine main tense–aspect constructions in Old Japanese in more detail than ever before, exploiting the research possibilities created by the Oxford Corpus of Old Japanese. The commitment to close textual reading and the interpretation of examples in context that is characteristic of traditional Japanese scholarship is combined with a determination to explain the distributional data revealed by the Corpus. Large samples are used to produce quantitative semantic analyses, allowing a new perspective on multifunctional constructions from both synchronic and diachronic perspectives. All findings are placed within the wider perspective of cross-linguistic studies of tense and aspect, an approach often missing in Old Japanese scholarship. This thesis is the most comprehensive analysis of Old Japanese tense and aspect to date. Some traditional conclusions are challenged, and light is shed on many previously unexplained phenomena. Resultative constructions are discovered to be even more pervasive in Japanese than previously thought, with at least five of the nine con-structions I look at hypothesized to have begun as resultative constructions. In most cases these constructions have broadened to also denote ongoing activities, another characteristic of Japanese. This thesis thereby contributes to the cross-linguistic understanding of resultative constructions, and to the question of the validity and nature of the distinction between activities and states. It also shows the potential of an exemplar-based model of linguistic storage, which is seen to be a powerful tool for explaining both the multifunctionality of grammatical constructions and semantic change.