Thesis (D.M.A.)--Boston University / Western art songs written on Japanese poems, Tanka, appeared in the early twentieth century as a late manifestation of Japonisme, the Japanese influence on Western art and music. The songs discussed in this dissertation include Japanisches Regenlied (1909) by Joseph Marx, Three Japanese Lyrics (1912-13) by Igor Stravinsky, Petits Poi!mes Japonais (1919) by Francesco Santoliquido, and Romances on Texts by Japanese Poets (1928-32) by Dmitri Shostakovich. Japonisme emerged as a significant movement in late-nineteenth-century Western art when Japanese artworks were first exported to Europe. Under the influence of these works, Western painters soon adopted Japanese techniques especially from traditional wood-block prints (Ukiyo-e). The appreciation of Japanese art and culture eventually emerged in Western music as a part of Orientalism and exoticism, first in opera, then in Debussy's music, and lastly in art songs. The Japanese poems used in Western art songs examined here are most commonly referred to as Tanka (a short poem), a genre that flourished between the third and tenth centuries. Because of the unique characteristics of the Japanese language, translating Japanese poems into European languages requires a certain imagination. The purpose of this dissertation is to explore the relationship between the original Japanese poems and their translations into European languages, and to discuss their transformation. The introduction provides a brief overview of Japonisme in Western art in the late nineteenth century. Chapter One focuses on the basic elements of Japanese poetry in order to outline the characteristics unique to the Japanese language. Considering Japanese influence within the category of "Orientalism" and "Exoticism" in music, Chapter Two explores the evidence for Oriental and exotic influences on Western music. Chapter Three focuses more specifically on Japanese influences in Western music. A detailed study of poems and translations, and their relationship to music is the core focus of Chapter Four. Chapter Five concludes that Tanka vanished from Western art songs soon after the songs under consideration were composed.

This is a study of the so-called Light Verb Construction (LVC) in Japanese, which consists of the verb suru ‘do’ and the accusative-marked verbal noun, as exemplified in (1). (1) a. Taroo ga Tokyo ni ryokoo o suru. NOM to travel ACC do ‘Taroo travels to Tokyo.’ b. Taroo ga eigo no benkyoo o suru. NOM English GEN study ACC do ‘Taroo studies English.' c. Taroo ga murabito ni ookami ga kuru to keikoku o suru NOM villagers to wolf NOM come COMP warning ACC do ‘Taroo warns the villagers that the wolf will come.' Since Grimshaw and Mester's (1988) seminal work, there have been unresolved debates on the role of suru, whether suru in such forms as in (1) functions as a light verb or not. An observational generalization is that the thematic array of a clause faithfully reflects the argument structure of the VN which heads the accusative phrase. Hence, from the viewpoint of argument structure, suru may be ‘light' in the sense that it makes no thematic contribution to the VN-o suru formation. This suru may hence be different from the regular use of suru as a two-place ACTIVITY predicate, as shown in (2). (2) a. Taroo ga gorufu o suru. NOM golf ACC do ‘Taroo plays golf.' b. Taroo ga tenisu o suru. NOM tennis ACC do ‘Taroo plays tennis.' c. Taroo ga kaimono o suru. MOM shopping ACC do ‘Taroo does a shopping.' The oft-cited differences between the so-called light suru construction and the heavy suru construction are two-fold. First, in the light suru construction, the arguments of the VN may be 'promoted' into a clausal domain. Judging from the verbal case marking, the arguments of the VN are treated as if they are those of suru. Second, the light suru construction may exhibit the so-called ‘frozen phenomena'. The observational generalization is that when there is no overt argument in the accusative phrase domain, this accusative phrase becomes ‘frozen' in the sense that it cannot tolerate syntactic processes, such as scrambling and adverbial insertion . The majority of previous studies examine the ‘weight' of suru either to support or to refute the idea that suru can function as a light verb. In other words, these previous studies attempt to disambiguate the VN-o suru formation relying solely on the lexical property of suru. The contention of this study is that the above approach is problematic. This study argues that the ambiguity does not stem from the ‘weight' of suru but from the thematic properties of the VN which heads the accusative phrase, primarily, whether it is headed by a thematic or non-thematic VN. Another contention of this study is that the ambiguity can be resolved under the assumption that there is only one type of suru: a two-place predicate which licenses Agent and EVENT. In this sense, this study will argue against the idea that suru functions as a light verb and will argue that the characterization of VN-o sum formation arises not from the dichotic distinction of suru but from the dichotic distinction of its accusative phrase. / Graduate

The aim of this thesis is to examine and study Japanese traditional colours: gold and red for the Kanō school, blue and purple for the ukiyoe, including their symbolic meanings, pigments, how they were applied in art works and how they were related to Japanese aesthetics. This thesis is comprised of four chapters: the Introduction, Chapter 2, Chapter 3, and Conclusion. The introduction indicates the research purpose, theory, and research method. It also demonstrates the reason why the four colours and the two schools were selected. A combination of western colour theory, represented by Goethe, and Asian colour theory, represented by Five-elements theory and Confucius, is used in the following studies. In Chapter 2, studies on the colour gold and red for the Kano school are presented. These show that Japanese aesthetics is not a simple concept, but an aggregation of conflicting senses of values. The thesis then examines the colour blue and purple for the ukiyoe in Chapter 3. The two colours illustrate the concept of Japanese aesthetics, especially wabi-sabi, 侘び寂び, shibui, 渋い, and iki, 粋”. In the two detailed central chapters, the thesis provides readers with resourceful charts and pictures of paintings that are helpful to understand the statement. Finally, the thesis concludes the studies on Japanese traditional colours and their relations to Japanese aesthetics. This thesis hopes to not only help scholars in the field of Japanese traditional art and art history, but also offer some inspiration to readers who are doing research on Japanese contemporary design and modern art. / Graduate / 0377 / 0357 / siyingwang2013@163.com

This thesis investigates lexical and grammatical aspect in two unrelated languages, Sencoten(the Saanich dialect of Straits Salish) and Japanese. In particular, the main focus is on how various perfect readings are derived in the two languages, which show striking similarities in this respect. In Sencoten, a particle kwlh yields various readings depending on the situation aspect and viewpoint aspect of the predicate with which it occurs (Kiyota 2006b). These various readings include an inceptive reading, an on-going situation reading, and a completion reading. The Japanese aspectual marker -tei- also induces a range of different readings: a progressive reading, a resultant state reading, and a perfect reading (Ogihara 1998a, Nishiyama 2006, a.o.). To account for these various readings, I propose that both kwlh in Sencoten and -tei- in Japanese are perfect markers. However, the actual semantic function of each is different: kwlh in Sencoten introduces a perfect time span (Pancheva 2003), whereas -tei- in Japanese denotes an anteriority relation between an event time and a reference time (Reichenbach 1947, Klein 1992, 1994), where the event time can be the time interval of a sub-event of a larger event. -Tei- also has a pragmatic component (or presupposition), just as Portner (2003) claims for the English perfect. Aspectual properties of predicates also play a crucial role in yielding the range of different readings. Therefore, this thesis also proposes a new aspectual classification of predicates in Sencoten and Japanese, which departs from the common classification of predicates based on Indo-European languages. In Sencoten, various readings are derived by interaction between the semantics of verbal predicates (i.e. lexical aspect), the semantics of the grammatical aspect (perfective or imperfective), and the semantics (and possibly pragmatics) of the perfect. In Japanese, the range of interpretations is due to interaction between the semantics of verbal aspect, the function of an adverb, and the semantics and pragmatics of the perfect. In other words, the same factors enter into my analysis of both Sencoten and Japanese, though there is one striking difference between the two languages: the perfective/imperfective opposition is involved in Sencoten, but not in Japanese. / Arts, Faculty of / Linguistics, Department of / Graduate

The study consisted of an analysis and comparison of Japanese moral education before and after World War Two in terms of its teachings in loyalty. The samples on which the study was based were two elementary school morals courses dated 1940 19&2; they are referred to in Japanese as Shushin and Dotoku respectively. The problem was to determine whether the postwar version of the morals course—introduced twelve years after World War Two ended—reintroduces the attitudes toward loyalty for which Shushin had been famous and which were allegedly repudiated after the War. The hypothesis was that the course does, in fact, represent a return to the old values. For analytical purposes the term loyalty was defined in the narrow sense as an attitude of obedience, respect, reverence, and allegiance toward the Emperor. In the broader sense the definition included the same attitude with reference to the nation, government, law, teachers, and parents. Qualitative distinctions in the teaching of loyalty, such as its sanctions, its purposes, its functions or demands, its origin or formation, its focus, and its emotional tone provided the basis for further analysis of the attitudes implied in loyalty as taught in the two courses. Shushin was analyzed first; two courses, dated 1925 and 1940, were used for the purpose. By our definition of loyalty one of the textbooks in the Shushin course was more than four-fifths devoted to the subject of loyalty; the others also contained a strikingly high proportion of lessons on it. These were analyzed further as to the qualitative distinctions they revealed with regard to loyalty. Initially the same criteria of analysis were also applied to the lessons in the postwar Dotoku course. It was found, however, that the quantity of material on loyalty as originally defined was almost nil. Hence the tern: was redefined to include any reference at all to the nation, government, law, teachers, and parents. In addition, a survey was made to determine what had been included in Dotoku to replace the lessons on loyalty. Some of this data was included in the report. [ ... ] / Education, Faculty of / Graduate

Yoichi Hiraoka was an amazing Japanese xylophone player who had significant influence on the development of the xylophone as a solo instrument. The purpose of this dissertation is to collect and record evidence of Mr. Hiraoka, to examine his distinguished efforts to promote the xylophone, to investigate his influences on keyboard percussion literature, and to contribute to the development of the art of keyboard percussion performance as a whole. This dissertation addresses Yoichi Hiraoka’s artistic life, his commissioned pieces, and his influence on the art of xylophone performance. Analyses of two of his most influential commissioned works, Alan Hovhaness’ Fantasy on Japanese Wood Prints and Toshiro Mayuzumi’s Concertino for Xylophone Solo and Orchestra, are also included to illustrate the art of the xylophone, and to explain why Hiraoka did not play all of his commissioned works.

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