A partir do cotejo e da análise de várias obras pictóricas (pinturas, gravuras e ilustrações do Japão) e narrativas (livros, contos, peças de teatro, filmes, animações e quadrinhos japoneses), este trabalho busca apresentar a variedade e o sincretismo do sobrenatural no Japão, que não se encontra somente nos deuses xintoístas (kami), nas divindades budistas (bosatsu), nos fantasmas (yûrei), nas criaturas folclóricas (yôkai) e nos fenômenos sobrenaturais produzidos por estes, mas também nos monges, xamãs, adivinhos e nas tentativas de controlar magicamente o rumo das coisas amuletos, oráculos, festivais, rituais e oferendas. O primeiro capítulo apresenta um breve histórico das pesquisas sobre youkais e também procura defini-los e apresentar suas características próprias. O estudo prossegue definindo e caracterizando também os fantasmas japoneses. No segundo capítulo, tratamos de Tôkaidô Yotsuya Kaidan (1825), peça de kabuki escrita por Tsuruya Nanboku IV, a obra fantástica mais adaptada do Japão. Através dela, observamos o terror sobrenatural criado a partir de uma base realista-naturalista e tentamos discutir as mudanças nos papéis desempenhados pelos gêneros e as imbricadas relações entre fato, ficção, religião e folclore. Além disso, apresentamos em detalhes o icônico personagem de Oiwa e também exemplos de como são executados efeitos especiais teatrais conhecidos em japonês como keren. A dissertação se conclui com observações sobre as dificuldades encontradas no estudo de uma cultura estrangeira e a apresentação de questões suscitadas pelo decurso da pesquisa / From the collation and analysis of various pictorial works ( paintings, prints and illustrations from Japan ) and narratives ( Japanese books, short stories, plays, films, animations and comics ) , this study aims to present the variety and the syncretism of the supernatural in Japan, which is not only in the Shinto gods ( kami ), in the Buddhist deities ( bosatsu ), in ghosts ( yûrei ), in folkloric creatures ( yôkai ) and in supernatural phenomena produced by them, but also in the monks, shamans, diviners and in attempts to magically control the direction of things amulets, oracles, festivals, rituals and offerings. The first chapter presents a brief history of research on yokai and also seeks to define them and present their own characteristics. The study goes on also defining and featuring the Japanese ghosts. In the second chapter, we treat of Tôkaido Yotsuya Kaidan (1825), written by Tsuruya Nanboku IV, the most adapted fantastique work of Japan. Through it, we see the supernatural horror created from a realistic-naturalistic base and we try to discuss the changes in roles played by genders and the intertwined relations between fact, fiction, religion and folklore. Furthermore, we present in detail the iconic character of Oiwa and also examples of how theatrical special effects known in Japanese as keren run. The dissertation concludes with observations on the difficulties encountered in the study of a foreign culture and with the presentation of issues raised by the course of the research

A partir do cotejo e da análise de várias obras pictóricas (pinturas, gravuras e ilustrações do Japão) e narrativas (livros, contos, peças de teatro, filmes, animações e quadrinhos japoneses), este trabalho busca apresentar a variedade e o sincretismo do sobrenatural no Japão, que não se encontra somente nos deuses xintoístas (kami), nas divindades budistas (bosatsu), nos fantasmas (yûrei), nas criaturas folclóricas (yôkai) e nos fenômenos sobrenaturais produzidos por estes, mas também nos monges, xamãs, adivinhos e nas tentativas de controlar magicamente o rumo das coisas amuletos, oráculos, festivais, rituais e oferendas. O primeiro capítulo apresenta um breve histórico das pesquisas sobre youkais e também procura defini-los e apresentar suas características próprias. O estudo prossegue definindo e caracterizando também os fantasmas japoneses. No segundo capítulo, tratamos de Tôkaidô Yotsuya Kaidan (1825), peça de kabuki escrita por Tsuruya Nanboku IV, a obra fantástica mais adaptada do Japão. Através dela, observamos o terror sobrenatural criado a partir de uma base realista-naturalista e tentamos discutir as mudanças nos papéis desempenhados pelos gêneros e as imbricadas relações entre fato, ficção, religião e folclore. Além disso, apresentamos em detalhes o icônico personagem de Oiwa e também exemplos de como são executados efeitos especiais teatrais conhecidos em japonês como keren. A dissertação se conclui com observações sobre as dificuldades encontradas no estudo de uma cultura estrangeira e a apresentação de questões suscitadas pelo decurso da pesquisa / From the collation and analysis of various pictorial works ( paintings, prints and illustrations from Japan ) and narratives ( Japanese books, short stories, plays, films, animations and comics ) , this study aims to present the variety and the syncretism of the supernatural in Japan, which is not only in the Shinto gods ( kami ), in the Buddhist deities ( bosatsu ), in ghosts ( yûrei ), in folkloric creatures ( yôkai ) and in supernatural phenomena produced by them, but also in the monks, shamans, diviners and in attempts to magically control the direction of things amulets, oracles, festivals, rituals and offerings. The first chapter presents a brief history of research on yokai and also seeks to define them and present their own characteristics. The study goes on also defining and featuring the Japanese ghosts. In the second chapter, we treat of Tôkaido Yotsuya Kaidan (1825), written by Tsuruya Nanboku IV, the most adapted fantastique work of Japan. Through it, we see the supernatural horror created from a realistic-naturalistic base and we try to discuss the changes in roles played by genders and the intertwined relations between fact, fiction, religion and folklore. Furthermore, we present in detail the iconic character of Oiwa and also examples of how theatrical special effects known in Japanese as keren run. The dissertation concludes with observations on the difficulties encountered in the study of a foreign culture and with the presentation of issues raised by the course of the research

No description available.

Taking Utagawa Yoshikazu's woodblock printed game board Monster Yarns as my case study, I will analyze how existing imagery and game play work together to create an interesting and engaging game. I will analyze the visual aspect of this work in great detail, discussing how the work is created from complex and disparate parts. I will then present a mechanical analysis of game play and player interaction with the print to fully address how this work functions as a game. While some elements of game play are problematic, I propose that the highly visual nature of Monster Yarns counteracts these issues to create an enjoyable game.

Yokai é a designação comumente aplicada para nomear seres sobrenaturais como oni (ogro japonês), kappa (espécie de ser aquático), criados pelos homens para explicar fenômenos desconhecidos à sua volta, como epidemias e desastres naturais; dessa maneira, eventos nocivos ao ser humano tomaram a forma do yokai. Hoje, essas criaturas estão presentes no imaginário japonês sob a condição de personagens de anime (denominação das animações japonesas), mangá (histórias em quadrinhos nipônicas), games expressões modernas da cultura popular do Japão. A presente pesquisa buscou trilhar o caminho percorrido por esses seres até alcançarem o status de yokai-personagem. Os estudos concentraram-se nas principais representações dos ykai nas Época Heian (794-1192), Época Muromachi (1333-1573) e Época Edo (1603-1867), pois foi quando se verificou importantes mudanças nas expressões dessas criaturas, até culminar nos personagens criados pelo artista de mangá Mizuki Shigeru (1922- ), responsável por introduzir o yokai no imaginário nacional japonês no século XX. Pesquisas acadêmicas em língua portuguesa que tomam o yokai como objeto são escassas. Esperamos com esse estudo, apresentar essas criaturas na academia, e inseri-las no contexto acadêmico, despertando, quem sabe, interesse para futuros projetos. / Yokai is the designation commonly used to name supernatural beings as oni ( the Japanese ogre), kappa (a kind of aquatic being), created by men to explain the unknown phenomena around them like epidemics and natural disasters; this way, damaging events to men turned into a Yokai format. Nowadays these creatures are presented in the Japanese imaginary as an anime character (name given to Japanese animations), mangá (Japanese comics), games modern expressions of the popular culture of Japan. The goal of this research sought to trace the course made by these beings until they reached the yokai character status. The studies focused on the main representations of the yokai in the Heian Period (794-1192), in the Muromachi Period (1333-1573) and in the Edo Period (1603-1867), when several and important changes were perceived in the expression of these creatures until they culminated in characters created by the mangá artist Mizuki Shigeru (1922- ), responsible for introducing the ykai in the Japanese national imaginary world in the XX century. Academic research in the Portuguese language about the yokai is scarce. We expect with this study to present these creatures to the Academy and insert them in the academic context, awaking peoples interest for future projects.

Yokai é a designação comumente aplicada para nomear seres sobrenaturais como oni (ogro japonês), kappa (espécie de ser aquático), criados pelos homens para explicar fenômenos desconhecidos à sua volta, como epidemias e desastres naturais; dessa maneira, eventos nocivos ao ser humano tomaram a forma do yokai. Hoje, essas criaturas estão presentes no imaginário japonês sob a condição de personagens de anime (denominação das animações japonesas), mangá (histórias em quadrinhos nipônicas), games expressões modernas da cultura popular do Japão. A presente pesquisa buscou trilhar o caminho percorrido por esses seres até alcançarem o status de yokai-personagem. Os estudos concentraram-se nas principais representações dos ykai nas Época Heian (794-1192), Época Muromachi (1333-1573) e Época Edo (1603-1867), pois foi quando se verificou importantes mudanças nas expressões dessas criaturas, até culminar nos personagens criados pelo artista de mangá Mizuki Shigeru (1922- ), responsável por introduzir o yokai no imaginário nacional japonês no século XX. Pesquisas acadêmicas em língua portuguesa que tomam o yokai como objeto são escassas. Esperamos com esse estudo, apresentar essas criaturas na academia, e inseri-las no contexto acadêmico, despertando, quem sabe, interesse para futuros projetos. / Yokai is the designation commonly used to name supernatural beings as oni ( the Japanese ogre), kappa (a kind of aquatic being), created by men to explain the unknown phenomena around them like epidemics and natural disasters; this way, damaging events to men turned into a Yokai format. Nowadays these creatures are presented in the Japanese imaginary as an anime character (name given to Japanese animations), mangá (Japanese comics), games modern expressions of the popular culture of Japan. The goal of this research sought to trace the course made by these beings until they reached the yokai character status. The studies focused on the main representations of the yokai in the Heian Period (794-1192), in the Muromachi Period (1333-1573) and in the Edo Period (1603-1867), when several and important changes were perceived in the expression of these creatures until they culminated in characters created by the mangá artist Mizuki Shigeru (1922- ), responsible for introducing the ykai in the Japanese national imaginary world in the XX century. Academic research in the Portuguese language about the yokai is scarce. We expect with this study to present these creatures to the Academy and insert them in the academic context, awaking peoples interest for future projects.

The town of Sakaiminato, on the western coast of Japan, has revitalized its local economy through the transformation of the downtown into a tourist destination for fans of the popular manga creator Shigeru Mizuki. The strategy used by the local community closely replicates the traditional pilgrimage patterns established in Japan; however, the focus has been shifted from a religious to secular world view. While the iconography and meaning has changed, the emotional resonance has remained the same, with fans of the series developing a shared sense of community and a connection to some trans-societal force. This attempt to link older religious practices with modern fan cultures has been further strengthened by directly tying tourism with new releases of Mizuki's work.

No description available.

This doctoral thesis involves two components, a book length collection of poems and a critical study of ‘Herbert White’ and ‘Ellen West’ by Frank Bidart. The collection of poems, The Coagulate, consists of four parts: 1) Semi-personal poems focusing on nature both in a general sense and in specific reference to the natural British landscape. 2) Poems that explore the nature-based myths and contemporary social idiosyncrasies of Japan.3) Poems that explore the social perception of mental illness and the individual voices that exist in spite psychological classification.4) Poems by an alter-ego and pseudonym named Lee Cole, a completely foreign perspective to my own. These poems were written with the intent to adhere to Frank Bidart’s concept of Herbert White as ‘all that I was not.’ However, unlike Bidart, these poems attempt to remove the presence of the poet and forgo the use of a feint. The collection is organised with contexture in mind rather than chronology. Poems build upon one another and one section flows into the next causing the book to have a fluid quality. The critical component examines Bidart’s treatment of two mentally ill characters in respect to the establishment of the form, style, and voice that would become a hallmark of his poetry. Chapter 1 looks at the first poem of Bidart’s first book, ‘Herbert White.’ This chapter examines how Bidart’s unique use of typography, voice, Freudian theory, and the sharing of the poet’s history contributed to the crafting of a mentally ill character and the contexture of Golden State. It suggests that the inclusion of the poet, a stable presence in comparison to White, allows the reader to recognise certain universal human personality traits in a character that seems inhuman. Chapter 2 examines how Bidart crafted ‘Ellen West,’ a character just as unlike Bidart as ‘Herbert White.’ Central to this analysis is the examination of how to construct a character struggling with identity. It also examines the use of dramatic monologues and how ‘Ellen West’ fits into a form with a flexible definition. As with Chapter 1, Chapter 2 examines how Bidart uses the poet’s self to add to a fictional narrative and how that reflects upon his personal poetry, indicating that Bidart’s use of the self is a redirection from how the Confessional poets used first-person.

Les Yokai sont les créatures mythiques qui tapissent le folklore japonais. Bien qu’on traduise souvent le mot Yokai par « monstre », ils ne sont pas toujours méchants. En fait, un même Yokai peut être à la fois bon ou mauvais – leur personnalité est changeante selon les histoires. Je me demande alors si le contexte historique peut expliquer ces changements caractériels. J’observe donc lors de mon étude trois différents Yokai (Kappa, Tanuki et Tengu) dans les contes de trois ères historiques japonaises différentes afin de voir s’il y a vraiment un lien – et à l’inverse, voir s’il est possible de dater un conte de par le comportement du Yokai qui y figure. / Yokais are mythical creatures found in Japanese folklore. This word is often translated with “monster”, however this does not mean that they are always evil. In fact, one same creature can be both good and bad – their personalities vary depending on the tale. I am thus wondering if historical context can explain these characteristic changes. Therefore, I will here study the behaviour of three different Yokais (Kappa, Tanuki and Tengu) in tales of three different Japanese eras to see if there is indeed a connection – and also the other way around, to see if it would be possible to date a tale based on its Yokais’ behaviour.