651 research outputs found
Stemple Pass (2012) et le projet Two Cabins : l’architecture de la solitude selon James Benning
No full textLe projet Two Cabins de James Benning gravite autour de la reproduction de deux cabanes dans l’espace de son jardin. La première est celle d’Henry David Thoreau, auteur transcendantaliste de Walden ou La vie dans les bois (1854). La seconde est celle de Theodore Kaczynski, aussi surnommé « Unabomber », écoterroriste états-unien et auteur d’un manifeste antitechnologique. Cet article se penche en particulier sur le film Stemple Pass (Benning, 2012), qui confronte les écrits de Kaczynski à la reproduction de son habitat.James Benning’s project Two Cabins revolves around the reconstruction of two cabins in his own yard (or garden). The first belongs to Henry David Thoreau, the transcendentalist author of Walden; or, Life in the Woods (1854). The second is that of Theodore Kaczynski, an ecoterrorist also known as “the Unabomber” who wrote an anti-technological manifesto. This article focuses on Stemple Pass, Benning’s 2012 film that juxtaposes Kaczynski’s writings and the reconstruction of his cabin
Dispositifs immersifs monumentaux et collectifs
No full textCollection : Encyclopédie raisonnée des techniques du cinémaIntroduction : une hétérotopologie des dispositifs = Introduction : a heterotypology of viewing systems / Olivier Asselin, Aude Weber-Houde ; Une brève archéologie des dispositifs immersifs monumentaux et collectifs = A brief archaeology of monumental and collective immersive viewing systems / Aude Weber-Houde ; Le cinéma 3D et l’effet d’émergence = 3D cinema and the protrusion effect / Aude Weber-Houde ; Le cinéma odorant = Olfactory cinema / Aude Weber-Houde ; Le siège truqué et le cinéma tactile = Vibrating seats and tactile cinema / Aude Weber-Houde ; La salle moderniste = The modernist cinema / Edo Volbeda ; Le multi-écran = Multi-screen cinema / Matthieu Blake.Ce livre numérique examine la manière dont le cinéma – ce dispositif singulier qui propose une image monumentale et collective dans un lieu consacré – a cherché à se réinventer contre la télévision – ce dispositif qui propose une image plus intime dans l’espace domestique. Dans cette compétition, la salle de cinéma a eu recours à toutes sortes de stratégies, souvent immersives : « augmenter » la salle, avec un écran élargi et multiplié et un son étendu, mais aussi avec la 3D, le cinéma odorant et les sièges truqués; ou, au contraire, « réduire » la salle à sa plus simple expression, pour qu’elle soit le lieu d’une expérience audiovisuelle pure.This digital book examines how cinema, that singular viewing system which offers a monumental and collective image in a dedicated space, sought to reinvent itself in opposition to television, a viewing system which offered a more intimate image in domestic space. In this competition, cinema employed various kinds of often immersive strategies: “upgrading” movie theaters with bigger or multiple screens and surround sound, but also with 3D, odors and vibrating seats; or, on the contrary, “reducing” movie theaters to their simplest expression to be the site of a pure audiovisual experience
Igandea edo Jaunaren eguna
No full textEl autor J.B. Daranatz nos indica algunos errores cometidos por J.P. Arbelbide al escribir en euskera el libro " Igandea edo Jaunaren Eguna"The author, J.B. Daranatz indicates certain mistakes made by J.P. Arbelbide when writing the book "Igandea edo Jaunaren Eguna" in Basqu
Paysages et jardins de l'avant-garde états-unienne : du psychodrame au cinéma lyrique, du film structurel à l'écocinéma
No full textCette thèse se penche sur la représentation du paysage naturel, ainsi que du jardin, au sein de l’avant-garde cinématographique états-unienne de l’après-guerre. Notre objectif consiste d’une part à révéler comment la mise en image de l’étant naturel constitue un enjeu de premier plan pour cette scène artistique. Cette banque d’images prenant forme au fil du texte autour de nos motifs de choix, on verra d’autre part comment elle entre en dialogue avec les autres arts, et s’inscrit dans l’histoire cinq ou six fois séculaire du paysage occidental. Là où la légitimité et l’autonomie du paysage sont attestées de longue date en peinture (et dans la photographie), il ne constitue pas au cinéma un genre à proprement parler. Pourtant, des cinéastes comme James Benning, Stan Brakhage et Peter Hutton ont bien réalisé des œuvres comparables : d’authentiques « films de paysage(s) ». Peut-on imaginer alors ici un corpus cohérent, en miroir de l’école de l’Hudson sur le même continent ? Afin de l’établir, cette thèse entend d’abord définir le contexte au sein duquel ces films peuvent être étudiés côte à côte. Plutôt que de prendre ces notions pour acquises, il s’agira de définir mutuellement le paysage et le cinéma expérimental pour découvrir leurs points de rencontre. Par ailleurs, toute représentation de la nature n’étant pas forcément un paysage, la catégorie du jardin nous permettra de reconnaître d’autres gestes créatifs, et de mettre en lumière la place occupée par d’autres cinéastes (dont Marie Menken) au sein de cette généalogie. Une série d’études de cas et d’analyses filmiques nous fera découvrir l’émergence graduelle de notre objet d’étude, depuis les débuts de l’avant-garde au milieu des années 1940, jusqu’à l’orée du XIXe siècle. En explorant les enjeux esthétiques, techniques, et parfois biographiques des œuvres abordées, il s’agira d’abord de comprendre comment chacun des cinéastes étudiés s’est approprié le paysage (ou le jardin), avant d’envisager les points de convergences entre leurs filmographies. Le premier chapitre se penche principalement sur trois cinéastes – Maya Deren, Menken et Brakhage – et embrasse les deux premières décennies de la scène (de 1943 à 1964). Une série de protagonistes, de promeneurs et d’avatars y font figure de médiateurs dans notre expérience de la nature, qui peut prendre la forme d’un paysage, d’un parc ou d’un jardin. Autour du film structurel des années 1960 et 1970 (un concept de P. Adams Sitney), le deuxième chapitre prend la mesure de la disparition de cette figure humaine chez des cinéastes comme Michael Snow et Larry Gottheim. Ce cinéma minimaliste et radical va jusqu’à remettre en question la médiation du filmeur derrière l’objectif. Dans la continuité du film structurel, le troisième chapitre se concentre sur l’usage du plan fixe, combiné parfois à celui de la longue durée. Autour d’Hutton, de Benning et d’autres, il traverse les décennies suivantes, jusqu’au début du XXIe siècle. Pensée par Scott MacDonald, l’idée d’un écocinéma nous permettra enfin de mesurer les enjeux écologiques de cette pratique.This thesis focuses on the representation of natural landscapes, and gardens, in the American film avant-garde of the post-War period. Our main goal is two-fold. First, we intend to show that the representation of the natural world is an integral part of this scene. Taking shape through the text and around these themes, this gallery of images will then be considered in relation to the other arts, and to the history of the western landscape, going back five or six centuries. While landscape has long been considered a legitimate genre in painting (and in photography), such is not the case in the cinema. However, filmmakers such as James Benning, Stan Brakhage and Peter Hutton have indeed created landscape films throughout their work. Is it possible, then, to imagine such a body of work for film, mirroring the Hudson River School on the same continent? In order to do so, we will first aim to define the context in which these films can be studied side by side. Rather than taking these notions for granted, we will then endeavor to define landscape and experimental film mutually, and to find their points of convergence. Moreover, since every representation of nature is not necessarily a landscape, the garden will allow us to appreciate other kinds of artistic gestures, and to recognize the role played by other filmmakers (such as Marie Menken) in this genealogy. Several case studies and film analyses will help us to discover the gradual emergence of our topic of study, since the beginnings of the “scene” in the mid 1940s, until the beginning of the 21st century. Exploring these films in terms of aesthetics, as well as technical and sometimes biographical aspects, we will aim to understand how each of these filmmakers came to embrace the landscape (or garden) idea, before considering how their respective bodies of work may relate to each other. Covering a period going from 1943 to 1964, the first chapter mostly revolves around three filmmakers: Maya Deren, Menken, and Brakhage. The protagonists and wanderers of this chapter mediate our experience of nature, be it in the form of a landscape, a park, or a garden. The focus of the next chapter is the structural film of the 1960s and 1970s (a concept coined by P. Adams Sitney), and the disappearance of this human figure in the works of Michael Snow, Larry Gottheim, and others. This minimalistic and radical approach may even forego the mediation of the person behind the camera. Following on the structural film, the third chapter focuses on the use of the still frame, sometimes in combination with the long take. Around Hutton, Benning, and others, it covers the remaining decades until the start of the 21st century. The idea of an ecocinema, coined by Scott MacDonald, will then allow us to consider the ecological aspects of this kind of filmmaking
The impact of the structural adjustment program on Edo women farmers in Edo state, Nigeria, 1980-1994, 1995
No full textThis study examined the impact of Structural Adjustment Program on Edo women farmers in Edo State using Edo Agricultural Development Program (ADP) as a case study. The study incorporated elements of historical and descriptive research design which included both primary and secondary data. The primary data gathered in the study were analyzed using Pearson Product Moment Correlation Coefficient, descriptive statistics, T-test, analysis of variance (ANOVA) and the Turkey-HSD test. The findings established that: 1. Edo women farmers' access to productive resources has not improved since SAP, 2. SAP expenditure cuts on social services/subsidies decreases the women farmers' income generating activities and intensify their workload, both paid and unpaid, 3. Food and other consumer prices have skyrocketed since SAP, 4. SAP has reduced Edo women farmers' food and agricultural production through cuts in social services/ subsidies and emphasis on cash crops production for export, with focus on large scale successful farmers at the expense of peasant farmers. Therefore, the researcher recommends that the state and the market be restructured to integrate women into the development process in response to their needs and contributions as both producers and reproducers. SAP should focus on plans to eliminate poverty and meet the basic needs of the poor and vulnerable during the transitional phase
Japanese Gardens in Edo Period (1615-1868)
No full textBakalaura darbs. Japāņu dārzi Edo periodā (1615-1868). Rīga: Latvijas Universitāte, 2020. – 38 lpp. Bakalaura darba mērķis ir veikt Edo perioda dārzu salīdzinājumu ar dārzu stiliem citos periodos. Darba mērķa sasniegšanai tika izvirzīti šādi uzdevumi: 1.veikt klasiskā japāņu dārza elementu analīzi; 2.veikt analīzi dārzu stiliem, kuri bija populāri vairākos citos vēsturiskos periodos; 3.veikt padziļinātu analīzi Edo periodā populārajiem arhitektūras un dārzu stiliem. Bakalaura darbs sastāv no trim nodaļām. Pirmajā nodaļā tiek aprakstīts japāņu klasiskais dārzs kā tāds, tajā sastopamie galvenie elementi. Otrajā nodāļā tiek veikta vairāku dārza stilu analīze, izņemot Edo periodu. Trešā nodaļa tiek pilnīgi veltīta Edo periodā sastopamo arhitektūras un dārza stilu analīzei. Darba nobeigumā autors piedāvā savus secinājumus. Bakalaura darba apjoms ir 38 lpp., tas satur 27 attēlus, shēmas un pielikumus, kā arī kopumā 47 izmantotus dažādus literatūras avotus.Thesis. Japanese Gardens in the Edo Period (1615-1868). Riga: University of Latvia, 2020 - 38 pages. The aim of this work is to compare the gardens of the Edo period with the garden styles of other periods. To achieve the goal of the work, the following tasks were set: 1. to perform the analysis of the elements of the classical Japanese garden; 2. to perform an analysis of garden styles that were popular in several other historical periods; 3. to perform an in-depth analysis of popular architectural and garden styles of the Edo period. The bachelor's thesis consists of three chapters. The first chapter describes the Japanese classical garden as such, the main elements it contains. In the second chapter, an analysis of several garden styles is performed, except for the Edo period. The third chapter is entirely devoted to the analysis of the architectural and garden styles found in the Edo period. At the end of the work, the author offers his conclusions. The volume of the bachelor's thesis is 38 pages, it contains 27 figures, diagrams and appendices, as well as a total of 47 used various literature sources
Edo sato kagura: Ritual, drama, farce and music in a pre-modern Shinto theatrical.
No full textThis dissertation examines the music of Edo sato kagura, a pre-modern Shinto theatrical that has been performed at neighborhood shrine festivals in the Tokyo area since the Tokugawa period. Specifically, the author analyzes representative pieces performed by the Wakayama shachu, one of four extant Edo sato kagura troupes, to uncover the relationship between the repertoire and the theatrical's fundamental layers of cultural meaning. The primary data for this research comes from some two years of private study by the author with Wakayama Taneo, leader of the Wakayama troupe, as well as direct observation of shrine performances. Edo sato kagura's music must be understood in terms of the theatrical's history. Apparently, Edo sato kagura grew from a largely ritualistic kagura tradition that migrated to the shogunal capital of Edo sometime in the seventeenth century. This transplant underwent a profound transformation in its new home. While it remained partly ritualistic, it also developed drama and farce as fundamental elements. Drama allowed it to prosper as a secularized theatrical amidst the carnival-like atmosphere found at Shinto shrines during the Tokugawa period. Farce contributed to the same end and may also have permitted Edo sato kagura to playfully satirize shogunal rule and the social order it imposed upon Edo life. Analysis reveals that Edo sato kagura's accretion of traditional meanings still echoes in the genre's musical repertoire. The Wakayama troupe transmits thirty selections, and these can be placed into three categories: ritualistic, dramatic, and farcical. Dramatic pieces are, by far, the most numerous. While these range from tranquil to furious, all rely upon continuity and contrast to create and maintain dramatic tension. Homma, Edo sato kagura's one ritualistic piece is much more repetitive. This helps focus attention upon the tradition's ritualistic dances. Nimba, Edo sato kagura's farcical selection holds particular interest since it contains an element exceedingly rare in traditional Japanese music, improvisation.PhDAsian historyCommunication and the ArtsMusicSocial SciencesTheaterUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/129263/2/9423181.pd
Kaitei zōho Edo ōsetsuyō kaidai gura 改正増補江戸大節用海内藏
No full textWoodblock printedRevised and Enlarged Edition of Edo ōsetsuyō Kaidai GuraAuthors: Shōtei Kinsui 松亭金水 (1795-1862);
Takai Ranzan 高井蘭山 (1762-1838);Illustrator: Kikukawa Eizan 菊川英山 (1787-1867)32 pages in colorA large encyclopedia with maps of the world, Japan, Ryukyu (Okinawa), Chosen (Korea), Edo, Osaka, Kyoto, Ezo (Hokkaido), and a map of Yokohama from when the harbor was first opened. Many color views of Edo, Mt. Fuji, and views with other cited locations of interest to travelers. Also sections on armor, history, etc
Ukiyo-e Tattoo and Tattooing History in Edo, Tokugawa Period
No full textDarbā tika apskatīti Japānas tradicionālie tetovējumi un to vēsture Edo, Tokugavas periodā. Tika apskatīti tetovējumu veidi, sākot no maziem mīlas tetovējumiem jeb irebokuro, līdz kriminālajiem un estētiskajiem tetovējumiem. Tika apskatīti sabiedrības sociālie slāņi, kas rotāja savus ķermeņus ar tetovējumiem. Tika apskatīta māksla, kas radīja Japānas tradicionālos tetovējumus un to dizainu simbolika un nozīmes. Vairākas Japānas tradicionālas tetovēšanas tehnikas tiks pārbaudītas praksē. Darba mērķis ir izpētīt Japānas tradicionālo tetovējumu un tetovēšanas vēsturi Edo, Tokugavas periodā. Izprast to nozīmes un sabiedrības sociālos slāņus, kas nēsāja tetovējumus, gūt priekšstatu, par Japānas tradicionālo tetovējumu tetovēšanas tehnikām un metodēm. Darba galvenie secinājumi ir tas, ka Japānas tradicionāla tetovēšanai ir ļoti sarežģīta vēsture, kur katrai darbībai ir sava jēga, kur katram dizaina motīvam ir sava nozīme. Japānas tradicionālo tetovēšanas vēsturi bez dziļas iedziļināšanās sabiedrībā, populāros stāstos, leģendās un reliģijā nevar saprast.Bachelor paper Ukiyo-e Tattoo and Tattooing History in Edo, Tokugawa Period is dealing with Japanese traditional tattoo. The history of tattooing in Edo, Tokugawa period is researched. Different tattoo types such as love tattoo or irebokuro or criminal and aesthetic tattoos are examined. The author gives a short review of the social circles of tattooed people. The symbolic meaning of Japanese traditional tattoo has been examined. Some of Japanese traditional tattooing techniques have been practiced by the author. The main goal and conclusion of the bachelor paper states that the history of Japanese traditional tattooing is very complicated, where each step has its own purpose and each design has its own meaning. The understanding of the history of Japanese traditional tattooing needs an extensive knowledge of the social history of Japan
Underground Japan: Metamorphosis of the Organized Crimes from the Edo Period until Present Times
No full textBakalaura darbs “Pazemes Japāna: organizētās noziedzības metamorfoze no Edo perioda līdz mūsdienām“ ir veltīts organizēto noziedzīgo grupu attīstībai Japānā, pazīstamas kā jakudza. Šī darba mērķis ir izpētīt jakudzu kā Japānas kultūras daļu, izprast izcelsmes cēloni un izsekot, kā šīs noziedzīgās grupas ir mainījušās un veidojušās vēstures gaitā. Darba autors izsekos organizēto noziedzīgo grupu attīstībai Japānā, sākot no Edo perioda līdz mūsdienām, sapratīs, kādi cilvēki pievienojas jakudzas grupām un uzzinās par bandām no iekšpuses. Darbs tika sadalīts 4 daļās, kur katra daļa aptver konkrētu laika periodu: Edo periodu (1603–1868), Meidži periodu (1868–1912), Šōvas periodu (1926-1989) un Heisei periodu (1989–2019). Bakalaura darba apjoms: 60 lappuses.Bachelor thesis “Underground Japan: metamorphosis of the organized crimes from the Edo period until present times” is dedicated to the development of organized crime groups in Japan, known as yakuza. The aim of this work is to study yakuza as a part of Japanese culture, to understand the cause of origin and to track how these criminal groups have changed and evolved over the course of history. The author will track the development of organized crime groups in Japan, starting from the Edo period to the present day, will understand what kind of people are joining yakuza groups and will learn about gangs from inside. The work was divided into 4 parts, each part covering a specific time period: the Edo period (1603–1868), the Meiji period (1868–1912), the Shōwa period (1926-1989) and the Heisei period (1989–2019). The research paper consists of 60 pages
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