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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Proměny tradičních lidových řemesel v Japonsku ve 20. století / Transformation of the Traditional Folk Crafts in Japan in the 20th Century

Richterová, Lenka January 2013 (has links)
Japan, as a country with remarkably strong tradition of craftsmanship, undertook significant changes in this area in the 20th century. One of the main areas in this field is a Japanese folk pottery. The aim of this paper is to present how the ceramic craft and all its aspects transformed from the Meiji Restoration to the present. Firstly, it focuses on introducing the styles of folk pottery and the way traditional potters in the Tokugawa period worked, then it focuses on various influences which affected the field and the changes that brought. In the final part, the work focuses on the description of ceramic craft nowadays, the comparison with the past and tries to contemplate on the philosophy of tradition.
2

Articulations of Liberation and Agency in Yanagi Miwa's "Elevator Girls"

Chamberlain, Rachel P 02 May 2012 (has links)
Miwa Yanagi’s Elevator Girls series, a collection of glossy photographs featuring groups of similarly clad women lingering in expansive, empty arcades, made its international debut in 1996. While the pieces garnered positive reactions, Yanagi found that most Western viewers read her work as predominantly “Oriental”—confirming stereotypes of a highly polished techno-topic Japan that was still negotiating gender equality. In this thesis, I explore alternative ways of reading Yanagi’s Elevator Girls series, which, I argue, call attention to myopic views of commercialism and identity in order to provide an alternative reading of these women as agents of transgression and ideological transcendence. Whereas many viewed Yanagi’s works as a comment on capitalist machinations, where consumerism has produced soulless, vapid feminine identities, I focus on the ways in which these women exercise agency without relying on notions of an individualized, unique ego.

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